Looking  through  the  ARCH  OF  THE  SETTING  SUN  into  the  COURT  OF  THE  UNI- 
VERSE. On  the  right  is  Du  Mond's  mural,  CALIFORNIA  WELCOMING  THE 
EAST.  The  soft,  warm  colors  of  the  palaces,  and  their  wealth  of  sculpture  and 
mural  painting  are  the  especial  distinction  of  this  Exposition. 


PANAMA-PACIFIC  INTERNATIONAL  EXPOSITION 

THE  JEWEL  CITY:  &««. 

ning  and  Achievement;  Its  Architecture, 
Sculpture,  Symbolism,  and  Music;  Its 
Gardens,  Palaces,  and  Exhibits  *  *  *  * 


BY 

BEN  MACOMBER 


WITH  COLORED  FRONTISPIECE   AND  MORE   THAN 
SEVENTY-FIVE  OTHER  ILLUSTRATIONS 


JOHN  H.  WILLIAMS,  PuBLisriER 

SAN   FRANCISCO   AND  TACOMA 
1915 


COPYRIGHT,  1915,  BY 
JOHN  H.  WILLIAMS 


PWJ  o/ 
H.    S.    CROCKER   CO. 

Printers  and  Binders 


INTRODUCTION  :  j '-,/. 

|0  MORE  accurate  account  of  the  Panama-P-icLle  Inter- 
national Exposition  has  been  given  than  oiie  tfiat  was 
forced  from  the  lips  of  a  charming  Eastern  woman  of 
culture.  Walking  one  evening  in  the  Fine  Arts  col- 
onnade, while  the  illumination  from  distant  search- 
lights accented  the  glory  of  Maybeck's  masterpiece,  and  lit  up  the 
half-domes  and  arches  across  the  lagoon,  she  exclaimed  to  her 
companion:  "Why,  all  the  beauty  of  the  world  has  been  sifted, 
and  the  finest  of  it  assembled  here!" 

This  simple  phrase,  the  involuntary  outburst  of  a  traveled 
visitor,  will  be  echoed  by  thousands  who  feel  the  magic  of  what 
the  master  artists  and  architects  of  America  have  done  here  in  cele- 
bration of  the  Panama  Canal.  I  put  the  "artists"  first,  because  this 
Exposition  has  set  a  new  standard.  Among  all  the  great  inter- 
national expositions  previously  held  in  the  United  States,  as  well 
as  those  abroad,  it  had  been  the  fashion  for  managers  to  order  a 
manufactures  building  from  one  architect,  a  machinery  hall  from 
another,  a  fine  arts  gallery  from  a  third.  These  worked  almost 
independently.  Their  structures,  separately,  were  often  beautiful; 
together,  they  seldom  indicated  any  kinship  or  common  purpose. 
When  the  buildings  were  completed,  the  artists  were  called  in  to 
soften  their  disharmonies  with  such  sculptural  and  horticultural 
decoration  as  might  be  possible. 

The  Exposition  in  San  Francisco  is  the  first,  though  it  will 
not  be  the  last,  to  subject  its  architecture  to  a  definite  artistic 
motive.  How  this  came  about  it  is  the  object  of  the  present  book 
to  tell, — how  the  Exposition  was  planned  as  an  appropriate  ex- 
pression of  America's  joy  in  the  completion  of  the  Canal,  and  how 
its  structures,  commemorating  the  peaceful  meeting  of  the  nations 
through  that  great  waterway,  have  fitly  been  made  to  represent 
the  art  of  the  entire  world,  yet  with  such  unity  and  originality  as 
to  give  new  interest  to  the  ancient  forms,  and  with  such  a  wealth 
of  appropriate  symbolism  in  color,  sculpture  and  mural  painting 
as  to  make  its  great  courts,  towers  and  arches  an  inspiring  story 
of  Nature's  beneficence  and  Man's  progress. 

Much  of  Mr.  Macomber's  text  was  written  originally  for  The  San 
Francisco  Chronicle,  to  which  acknowledgment  is  made  for  its 
permission  to  reprint  his  papers.  The  popularity  of  these  articles, 
which  have  been  running  since  February,  has  testified  to  their 
usefulness.  In  many  cases  they  have  been  preserved  and  passed 
from  hand  to  hand.  They  have  also  won  the  indorsement  of 
liberal  use  in  other  publications.  It  is  proper  to  say,  however, 


6  THE  JEWEL  CITY 

that  similarity  of  language  sometimes  indicates  a  common  fol- 
lowing of  the  artists*  own  explanations  of  their  work,  made 
public  by  the  Exposition  management. 

Mr.  Maccmber  has  revised  and  amplified  his  chapters  hitherto 
published,  and  has  added  others  briefly  outlining  the  history  of 
the  Exposition,  and  dealing  with  the  fine-arts,  industrial,  and  live- 
stock exhibits,  the  foreign  and  state  buildings,  music,  sports,  avia- 
tion, and  the  amusement  section.  Apart  from  the  smaller  guides, 
the  book  is  thus  the  first  to  attempt  any  comprehensive  descrip- 
tion of  the  Exposition.  Without  indiscriminate  praise,  or  sacri- 
ficing independent  judgment,  the  author's  purpose  has  been  to 
interpret  and  explain  the  many  things  about  which  the  visitors 
on  the  ground  and  readers  at  home  may  naturally  wish  to  know, 
rather  than  to  point  out  minor  defects. 

For  the  general  exhibit  palaces,  anything  more  than  a  brief 
outline  of  their  contents  would  fill  several  books.  But  the  chapter 
entitled  "The  Palace  of  Fine  Arts  and  its  Exhibit,  with  the 
Awards,"  supplies  such  an  account  of  the  plan  of  the  galleries  and 
of  the  important  works  therein  as  will  furnish  a  clear  and  helpful 
guide  to  this  great  collection.  The  awards  of  the  Fine  Arts  juries, 
just  announced,  have  been  incorporated  in  the  account,  while  a 
full  list  of  the  grand  prizes,  medals  of  honor  and  gold  medals  also 
follows  the  chapter.  With  the  artists  thus  named  are  noted  the 
rooms  where  the  works  of  each  may  be  found.  The  Appendix 
offers  a  practical  aid  to  the  study  of  the  "Exposition  Art"  in  the 
list  there  given  of  the  mural  paintings  and  sculptures  which  form 
the  notable  decorations  of  palaces  and  gardens.  With  these  are 
cross-references  to  the  pages  in  the  text  where  they  are  described. 

In  selecting  the  photographs  here  reproduced,  the  aim  has  been 
not  so  much  to  show  exhibits  as  to  illustrate  the  plan,  architecture 
and  decorative  art  of  the  Exposition,  and  to  indicate  the  advance 
which  it  scores  over  its  precedessors.  The  pictures,  with  their  full 
"underlines,"  will  aid  those  who  have  not  yet  visited  the  Exposi- 
tion to  apprehend  its  spirit  and  much  of  its  unprecedented  beauty. 
Cross-references  from  text  to  illustrations  increase  their  helpful- 
ness. But  even  these  abundant  illustration  can  do  little  more  than 
suggest  how  far  the  artistic  achievement  is  the  finest  yet  seen  in 
America.  No  book  can  adequately  represent  this  World's  Fair.  Its 
spell  is  the  charm  of  color  and  the  grandeur  of  noble  proportion, 
harmonizing  great  architectural  units;  its  lesson  is  the  compelling 
value,  demonstrated  on  a  vast  scale,  of  exquisite  taste.  It  must  be 
seen  to  be  understood. 

JOHN  H.  WILLIAMS. 

San  Francisco,  July  15, 1915. 


CONTENTS 


I.     Motive  and  Planning  of  the  Exposition 11 

II.     Ground  Plan  and  Landscape  Gardening 15 

III.  The  South  Gardens 21 

IV.  "The  Walled  City" :    Its  Great  Palaces  and  their  Archi- 

tecture, Color  and  Material 27 

V.     The  Tower  of  Jewels 42 

VI.     The  Court  of  the  Universe 50 

VII.     The  Court  of  the  Ages 65 

VIII.     The  Court  of  the  Seasons 75 

IX.     Courts  of  Flowers  and  Palms 78 

X.     The  Fountains 83 

XL     The  Palace  of  Machinery 96 

•XII.     The  Palace  of  Fine  Arts  and  its  Exhibit,  with  the 

Awards   101 

XIII.  The  Exposition  Illuminated 134 

XIV.  Music  at  the  Exposition 141 

XV.     Inside  the  Exhibit  Palaces 146 

XVI.  The  Foreign  Pavilions 154 

XVII.  The  State  Buildings 171 

XVIII.  The  Live-Stock  Exhibit 178 

XIX.  Sports  and  Games;  Automobile  Races;  Aviation 186 

XX.  The  Joy  Zone 193 

Appendix:     Lists    of   Sculptures,   Mural   Paintings,    and   Artists. 
Roster  of  the  Exposition.    Index. 


1 


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ILLUSTRATIONS 


Unless  otherwise  noted,  these  are  from  photographs  by  the  official  photographers, 
the  Cardinell-Vincent  Company. 

Roman  Arch  of  the  Setting  Sun, 

Color  Plate  from  Photo  by  Gabriel  Moulin Frontispiece 

Ground  Plan  of  the  Palace  of  Fine  Arts PAG| 

Aeroplane  View  of  the  Exposition, 

Photo  copyrighted  by  Gabriel  Moulin  17 

Avenue  of  Palms 18 

The  South  Gardens 23 

The  Palace  of  Horticulture 24 

Festival  Hall George  H.  Kahn  29 

Map  of  the  Panama-Pacific  International  Exposition 30-31 

"Listening  Woman"  and  "Young  Girl,"  Festival  Hall 32 

South  Portal,  Palace  of  Varied  Industries J.  L.  Padilla  37 

Palace  of  Liberal  Arts 38 

Sixteenth-Century  Spanish  Portal,  North  Facade 43 

"The  Pirate,"  North  Portal 44 

"The  Priest,"  Tower  of  Jewels 44 

The  Tower  of  Jewels  and  Fountain  of  Energy 47 

"Cortez" J.  L.  Padilla  48 

Under  the  Arch,  Tower  of  Jewels 53 

Fountain  of  El  Dorado 54 

Column  of  Progress Pacific  Photo  and  Art  Co.  57 

"The  Adventurous  Bowman" 58 

Arch  of  the  Setting  Sun J.  L.  Padilla  59 

Frieze  at  Base  of  the  Column  of  Progress  (2) 60 

The  Court  of  the  Universe  and  Arch  of  the  Rising  Sun 63 

"Earth"  and  "Fire"  (2) 64 

"The  Rising  Sun"  and  "The  Setting  Sun"  (2) 69 

Tower  of  the  Ages. J.  L.  Padilla  70 

Fountain  of  the  Earth J.  L.  Padilla  73 

"Air,"  one  of  Brangwyn's  Murals 74 

The  Court  of  Seasons 79 

Arch  in  the  Court  of  Seasons George  H.  Kahn  80 

Court  of  Flowers,  Detail Pacific  Photo  and  Art  Co.  85 

"The  End  of  the  Trail" J.  L.  Padilla  86 

"The  Pioneer"  .                                                        87 


10  THE  JEWEL  CITY 


The  Court  of  Palms 88 

Portal  between  the  Courts  of  Palms  and  Seasons, 

Pacific  Photo  and  Art  Co.  93 

Fountain  of  Summer J.  L.  Padilla  94 

The  Mermaid  Fountain 99 

Fountain  of  "Beauty  and  the  Beast" 100 

The  Palace  of  Machinery 105 

Palace  of  Machinery,  Interior 106 

Vestibule,  Palace  of  Machinery Gabriel  Moulin  111 

Palace  of  Fine  Arts 112 

Open  Corridor,  Palace  of  Fine  Arts 113 

Detail  of  Rotunda,  Palace  of  Fine  Arts 114 

Colonnade,    Fine    Arts,    and    Half-Dome,    Food    Products 

Palace  J.  L.  Padilla  119 

"The  Mother  of  the  Dead" 120 

"High  Tide;  the  Return  of  the  Fishermen". .  .Gabriel  Moulin  125 

"Among  the  White  Birch  Trunks" Gabriel  Moulin  126 

Tower  of  Jewels  at  Night J.  L.  Padilla  135 

"The  Outcast"   136 

"Muse  Finding  the  Head  of  Orpheus" 136 

Palace  of  Fine  Arts  at  Night Paul  Elder  Co.  137 

Tympanum,  Palace  of  Varied  Industries 138 

Tympanum,  Palace  of  Education 138 

"The  Genius  of  Creation" 147 

Pavilions  of  Australia  and  Canada  (2), 

H.  W.  Mossby,  J.  L.  Padilla  148 

Pavilions  of  France  and  the  Netherlands  (2) 157 

Rodin's  "The  Thinker" Friedrich  Woiter  158 

A  Court  in  the  Italian  Pavilion 159 

The  Pavilion  of  Sweden 160 

Pavilions  of  Argentina  and  Japan  (2) 169 

The  New  York  State  Building Pacific  Photo  and  Art  Co.  170 

California  Building 179 

Illinois  and  Missouri  (2) 180 

Massachusetts  and  Pennsylvania  (2) 181 

Inside  the  California  Building 182 

Oregon  and  Washington  (2) 191 

Aeroplane  Flight  at  Night 192 


THE  JEWEL  CITY 


MOTIVE  AND  PLANNING  OF  THE  EXPOSITION 

The  Panama  Canal  a  landmark  in  human  progress — Its  influence 
through  changes  in  trade  routes — San  Francisco  determines, 
in  spite  of  the  great  fire,  to  celebrate  its  completion — Millions 
pledged  in  two  hours — Congressional  approval  won — The 
Exposition  built  by  California  and  San  Francisco,  without 
National  aid — Only  two  years  given  to  construction — Fifty 
millions  expended. 

UMAN  endeavor  has  supplied  no  nobler  motive  for  pub- 
lic rejoicing  than  the  union  of  the  Atlantic  and  Pacific 
Oceans.  The  Panama  Canal  has  stirred  and  enlarged 
the  imaginations  of  men  as  no  other  task  has  done, 
however  enormous  the  conception,  however  huge  the 
work.  The  Canal  is  one  of  the  few  achievements  which  may  prop- 
erly be  called  epoch-making.  Its  building  is  of  such  signal  and  far- 
reaching  importance  that  it  marks  a  point  in  history  from  which 
succeeding  years  and  later  progress  will  be  counted.  It  is  so  vari- 
ously significant  that  the  future  alone  can  determine  the  ways  in 
which  it  will  touch  and  modify  the  life  of  mankind. 

First  of  all,  of  course,  its  intent  is  commercial.  Experts  have 
already  estimated  its  influence  on  the  traffic  routes.  But  these 
experts,  who  can,  from  known  present  conditions,  work  out  the 
changes  that  will  take  place,  that  are  already  taking  place,  in  the 
flow  of  commerce  on  the  seven  seas,  cannot  estimate  the  effect 
those  changes  will  have  on  the  life  of  the  people  who  inhabit  their 
shores.  Changes  in  trade  routes  have  overwhelmed  empires  and 
raised  up  new  nations,  have  nourished  civilizations  and  brought 
others  to  decay.  From  the  days  when  merchants  first  followed  the 
caravan  routes,  nothing  has  so  modified  the  history  of  nations  as 
the  course  of  the  roads  by  which  commerce  moved.  Huge  as  was 
the  Canal  as  a  physical  undertaking  alone,  it  is  not  less  stupendous 
in  the  vision  of  the  effects  which  will  flow  from  it. 

In  this  vision,  the  Western  shore  of  the  United  States  feels  that 
it  looms  largely.  No  small  part  of  the  benefits  of  the  Canal  are 
expected  to  fall  to  the  Pacific  States.  Long  before  it  was  com- 


12  THE  JEWEL  CITY 

pleted,  the  minds  of  men  in  the  West  were  filled  with  it.  Its 
approaching  completion  appealed  to  everyone  as  an  event  of  such 
tremendous  significance  as  to  deserve  commemoration.  Thus  when 
R.  B.  Hale,  in  1904,  first  proposed  that  the  opening  of  the  water- 
way should  be  marked  by  an  international  exposition  in  San  Fran- 
cisco, he  merely  gave  expression  to  the  thought  of  the  whole  West. 

The  Canal  is  a  national  undertaking,  built  by  the  labor  and 
money  of  an  entire  people.  It  is  of  international  significance,  too, 
for  its  benefits  are  world-wide.  The  Exposition  thus  represents 
not  only  the  United  States  but  also  the  world  in  its  effort  to  honor 
this  achievement.  San  Francisco  and  California  have  merely  staged 
the  spectacle,  in  which  the  world  participates. 

An  international  exposition  is  a  symbol  of  world  progress. 
This  one  is  so  complete  in  its  significance,  so  inclusive  of  all  the 
best  that  man  has  done,  that  it  is  something  more  than  a  memorial 
of  another  event.  It  is  itself  epochal,  as  is  the  enterprise  it  com- 
memorates. It  bears  a  direct  relation  to  the  Canal.  The  motive  of 
the  Exposition  was  the  grandeur  of  a  great  labor.  Completed,  it 
embodies  that  motive  in  the  highest  expression  of  art. 

It  took  eleven  years  to  prepare  for  and  build  the  Exposition. 
The  first  proposal  in  1904  was  followed  by  five  years  of  discussion 
of  ways  and  means.  Two  years  were  occupied  in  raising  the  money 
and  winning  the  consent  of  the  Nation,  and  then  four  years  more 
in  planning,  building,  and  collecting  the  exhibits.  The  first  plans 
were  interrupted,  but  not  ended,  by  the  most  terrible  disaster  that 
ever  befell  a  great  city — the  fire  of  1906,  which  wiped  out  the 
entire  business  portion,  with  much  of  the  residence  section,  of  San 
Francisco,  and  destroyed  hundreds  of  millions  of  wealth.  Before 
that  year  ended,  and  while  the  city  was  only  beginning  its  huge 
task  of  rebuilding,  it  again  took  up  its  festival  idea.  A  company 
was  formed,  but,  until  reconstruction  was  largely  out  of  the  way, 
it  was  impossible  to  do  more  than  keep  the  idea  alive. 

In  October,  1909,  the  idea  began  to  crystallize  into  a  definite 
purpose.  In  that  month  President  Taft,  at  a  banquet  at  the  Fair- 
mont Hotel,  declared  that  the  Canal  would  be  opened  to  commerce 
on  January  1,  1915.  That  announcement  gave  the  final  impulse  to 
the  growing  determination.  The  success  of  the  Portola  celebration 
that  summer  had  given  the  city  confidence  in  its  ability  to  carry 
out  a  great  festival  undertaking.  In  fact,  it  was  at  a  meeting  of  the 
Portola  committee  that  the  first  move  was  made  toward  the  organi- 
zation that  later  became  effective. 

A  mass-meeting  in  the  Merchants'  Exchange,  on  December  7, 
1909,  ended  in  a  resolve  to  organize  an  exposition  company.  This 
found  such  strong  popular  support  that  at  a  second  mass-meeting 


NO  GOVERNMENT  APPROPRIATION  13 

on  April  28, 1910,  $4,089,000  was  subscribed  in  less  than  two  hours. 
In  two  months  the  subscription  had  risen  to  $6,156,840.  Governor 
Gillett  called  the  California  legislature  in  special  session  in  August 
to  submit  to  the  people  constitutional  changes  enabling  San  Fran- 
cisco to  issue  exposition  bonds  in  the  amount  of  $5,000,000,  and  the 
State  to  raise  another  $5,000,000  by  special  tax.  In  November  the 
people  of  State  and  city  voted  the  two  amounts.  That  placed  a 
minimum  of  $16,000,000  to  the  credit  of  the  Exposition  Company 
and  assured  the  world  that  California  meant  business. 

Then  followed  the  struggle  for  Congressional  approval.  New 
Orleans  demanded  the  right  to  celebrate  the  opening  of  the  Panama 
Canal.  All  the  resources  of  both  cities  were  enlisted  in  a  battle 
before  Congress  that  drew  the  attention  of  the  Nation.  Three 
times  delegations  went  from  California  to  Washington  to  fight  for 
the  Exposition.  California  won,  on  January  31,  1911,  when,  by  a 
vote  of  188  to  159,  the  House  of  Representatives  designated  San 
Francisco  as  the  city  in  which  the  Panama-Pacific  International 
Exposition  should  be  held  in  1915  to  commemorate  the  opening  of 
the  Canal. 

During  this  struggle  California  gave  her  word  that  she  would 
not  ask  the  Nation  for  help  in  financing  the  Exposition.  The  prom- 
ise has  been  kept.  The  Government  has  not  even  erected  a  national 
building.  It  has,  however,  helped  in  material  ways,  by  granting  the 
use  of  portions  of  the  Presidio  and  Fort  Mason  reservations,  by 
sending  naval  colliers  to  bring  exhibits  from  European  countries, 
and  by  becoming  one  of  the  heaviest  exhibitors.  The  national 
exhibits  include  three  companies  of  marines  encamped  on  the 
grounds,  and  the  battleship  Oregon  anchored  off  the  Marina. 

After  Congress  had  acted,  half  a  year  was  spent  in  choosing  a 
site.  It  was  at  first  expected  that  the  Exposition  would  be  built  in 
Golden  Gate  Park.  A  compromise  among  advocates  of  different 
sites  was  reached  on  July  25,  1911,  when  a  majority  vote  of  the 
directors  named  a  site  including  portions  of  Golden  Gate  Park,  Lin- 
coln Park,  the  Presidio,  and  Harbor  View.  Before  100,000  people 
President  Taft  broke  ground  for  the  Exposition  in  the  Stadium  of 
Golden  Gate  Park.  But  it  was  not  long  before  the  choice  settled 
finally  on  Harbor  View  alone. 

The  work  began  with  the  organization  of  the  architectural 
staff.  The  following  architects  accepted  places  on  the  commission : 
McKim,  Mead  and  White,  Henry  Bacon,  and  Thomas  Hastings  of 
New  York;  Robert  Farquhar  of  Los  Angeles;  and  Louis  Christian 
Mullgardt,  George  W.  Kelham,  Willis  Polk,  William  B.  Faville,  Clar- 
ence R.  Ward,  and  Arthur  Brown  of  San  Francisco.  To  their  num- 
ber was  later  added  Bernard  R.  Maybeck  of  San  Francisco,  who 


14  THE  JEWEL  CITY 

designed  the  Palace  of  Fine  Arts,  while  Edward  H.  Bennett,  an 
associate  of  Burnham,  of  Chicago,  made  the  final  ground  plan  of 
the  Exposition  group.  When  San  Francisco  had  been  before  Con- 
gress asking  national  indorsement  for  the  Exposition  here,  the 
plans  which  were  then  presented,  and  on  which  the  fight  was  won, 
were  prepared  by  Ernest  Coxhead,  architect,  of  this  city.  These 
proposed  a  massed  grouping  of  the  Exposition  structures,  around 
courts,  and  on  the  Bay  front.  They  were  afterwards  amplified  by 
Coxhead,  and  furnished  the  keynote  of  the  scheme  finally  carried 
out.  While  the  Exposition  belongs  not  to  California  alone,  but  to 
the  whole  world,  it  is  pleaant  to  find  that  so  much  of  what  is  best 
in  it  is  the  work  of  Californians  and  San  Franciscans. 

The  architects  perfected  the  plan  in  1912.  At  the  same  time  the 
actual  work  of  preparing  the  site  was  completed  with  the  filling  of 
the  tide-land  portions  by  hydraulic  dredgers  and  the  removal  of 
the  standing  buildings.  In  the  same  year  the  department  chiefs 
were  named  and  began  their  work.  John  McLaren,  for  many  years 
Superintendent  of  Golden  Gate  Park,  was  put  in  charge  of  the  land- 
scape engineering;  W.  D'A.  Ryan  was  chosen  to  plan  the  illumina- 
tion, and  Jules  Guerin  and  K.  T.  F.  Bitter  were  placed  at  the  heads 
of  the  departments  of  color  and  sculpture.  With  these  details 
behind,  the  ground-breaking  for  Machinery  Palace  in  January, 
1913,  marked  the  beginning  of  the  final  stage.  In  the  two  years 
that  remained  it  was  necessary  only  to  carry  out  the  plans  already 
perfected.  No  other  exposition  has  been  so  forehanded.  When 
the  gates  opened  on  February  20,  1915,  to  remain  open  till  Decem- 
ber 4,  the  Exposition  was  practically  complete.  Some  of  the  exhib- 
itors had  not  finished  their  installation;  some  of  the  foreign 
nations  were  not  ready,  but  the  Exposition  had  kept  a  promise 
made  two  years  before  to  have  its  own  work  done  on  time.  This 
achievement  was  quite  unprecedented.  It  is  the  more  remarkable 
in  that  the  record  was  made  by  a  city  which  had  been  almost  anni- 
hilated by  fire  a  few  years  before. 

The  entire  cost  of  the  Exposition,  exclusive  of  the  value  of 
exhibits,  is  estimated  by  the  Controller  at  $50,000,000.  This  total 
is  made  up  of  $20,000,000  spent  by  San  Francisco  and  California, 
$10,000,000  laid  out  in  state  and  foreign  buildings  and  displays, 
$10,000,000  by  private  exhibitors,  and  $10,000,000  by  the  one  hun- 
dred concessionaires  on  the  Joy  Zone.  San  Francisco  contributed 
$12,500,000,  the  State  of  California  $5,000,000,  and  its  fifty-eight 
counties,  $2,500,000.  The  amounts  expended  by  foreign  nations 
range  from  $1,700,000  by  Argentina  to  sums  as  low  as  $100,000. 
The  State  of  New  York  spent  nearly  $1,000,000. 


II. 

GROUND  PLAN  AND  LANDSCAPE  GARDENING 

The  Exposition  a  product  of  co-operation  of  the  arts — The  land- 
scape made  part  of  the  scheme — Block  grouping  of  palaces 
and  courts — Plan  of  the  buildings — McLaren's  wonders  in  gar- 
dening— Succession  of  flowers  throughout  the  Exposition — 
Changes  overnight — Unique  wall  of  living  green. 

|HE  artistic  quality  which  distinguishes  this  Exposition 
above  all  others  in  America  or  Europe  rests  on  two 
outstanding  facts:  the  substantial  unity  of  its  archi- 
tectural scheme,  and  its  harmony  of  color,  keyed  to 
Nature's  coloring  of  the  landscape  in  which  it  is 
placed.  The  site  furnished  the  clue  to  the  plan;  co-operation  made 
possible  the  great  success  with  which  it  has  been  worked  out. 

"Centuries  ago,"  said  George  W.  Kelham,  chief  of  Exposition 
architecture,  "before  the  modern  age  of  advanced  specialization 
was  dreamed  of,  had  an  architect  been  asked  to  create  an  exposi- 
tion, he  would  have  been  not  only  an  architect,  but  painter,  sculp- 
tor and  landscape  engineer  as  well.  He  would  have  thought, 
planned  and  executed  from  this  fourfold  angle,  and  I  doubt  if  it 
would  have  even  occurred  to  him  to  think  of  one  of  the  arts  as  de- 
tached from  another."  These  words  express  the  method  of  the 
Exposition  builders.  The  scheme  adopted  was  a  unit,  in  which  all 
of  the  arts  were  needed,  and  in  which  they  all  combined  to  a  single 
end.  Each  building,  each  court,  every  garden  and  large  mass  of 
foliage,  was  designed  as  part  of  a  balanced  composition.  To  make 
the  landscape  an  integral  part  of  the  Exposition  picture,  by  fitting 
the  Exposition  to  the  landscape,  was  the  common  aim  of  architect, 
colorist,  sculptor  and  landscape  engineer.  The  Mediterranean  set- 
ting offered  by  a  sloping  bench  on  the  shore  of  the  Golden  Gate  sug- 
gested, as  most  capable  of  high  expression  of  beauty,  the  scheme 
of  a  city  of  the  Far  East,  its  great  buildings  walled  in  and  shel- 
tering its  courts.  The  coloring  of  earth,  sky  and  sea  furnished  the 
palette  from  which  tints  were  chosen  alike  for  palaces  and  gardens. 
The  beauty  of  this  plan  is  matched  by  its  practical  advantages. 
The  compact  grouping  of  the  Exposition  palaces  not  only  meant  a 
saving  of  ground  and  labor,  but  it  makes  it  easier  to  handle  the 
crowds,  and  lessens  the  walking  required  of  the  visitor.  There  is 
no  monotony.  In  developing  the  general  idea,  each  architect  and 
artist  was  left  free  to  express  his  own  personality  and  imagination. 
The  result  is  that  varied  forms  and  colors  in  the  different  courts 
and  buildings  blend  truly  into  the  whole  picture  of  an  Oriental 


16  THE  JEWEL  CITY 

city,  set  in  the  midst  of  a  vast  amphitheater  of  hills  and  bay, 
arched  by  the  fathomless  blue  of  the  California  sky. 

The  ground  plan  is  as  simple  as  it  is  compact.  Entering  through 
the  main  gate  at  Scott  Street,  the  visitor  has  the  Exposition  before 
him,  practically  an  equal  section  on  either  hand.  (See  map,  pp. 
30,  31.)  On  right  and  left  in  the  South  Garden  are  Festival  Hall 
and  the  Palace  of  Horticulture.  (Pp.  23,  24,  29.)  In  front  is  the 
Tower  of  Jewels,  before  it  the  Fountain  of  Energy.  (P.  47.)  The 
tower  centers  the  south  front  of  a  solid  block  of  eight  palaces,  so 
closely  joined  in  structure,  and  so  harmonized  in  architecture,  as 
to  make  really  a  single  palace.  On  the  right  and  left  of  the  tower 
are  the  Palaces  of  Manufactures  and  Liberal  Arts;  beyond  them,  on 
east  and  west,  are  Varied  Industries  and  Education.  Behind  these 
four,  and  fronting  on  the  bay  from  east  to  west,  are  Mines,  Trans- 
portation, Agriculture  and  Food  Products.  In  the  center  of  the 
group,  cut  out  of  the  corners  of  the  Manufactures,  Liberal  Arts, 
Agriculture  and  Transportation  Palaces,  and  entered  from  the 
south  through  the  Tower  of  Jewels,  is  the  great  Court  of  the  Uni- 
verse, opened  on  east  and  west  by  the  triumphal  Arches  of  the 
Nations.  (Pp.  59  and  63.)  The  Court  opens  northward  between 
the  Palaces  of  Transportation  and  Agriculture  in  a  splendid  colon- 
naded avenue  to  the  Column  of  Progress,  near  the  bay.  (P.  57.) 

Through  the  arch  on  the  east  the  Court  of  the  Universe  opens 
into  an  avenue  which  leads  to  the  Court  of  the  Ages,  cut  out  of  the 
intersection  of  the  four  Palaces  of  Manufactures,  Varied  Indus- 
tries, Mines  and  Transportation.  (P.  70.)  A  similar  avenue  on  the 
west  passes  to  the  Court  of  Seasons,  carved  from  the  common  junc- 
tion of  Liberal  Arts,  Education,  Food  Products  and  Agriculture. 
(Pp.  79  and  80.)  Avenues  pass  east  and  west  and  to  the  north 
from  each  of  these  two  courts,  and  on  the  south  each  connects 
through  an  arch  with  a  court  set  back  into  the  south  front  of  the 
palace  group,  the  Courts  of  Flowers  and  Palms.  (Pp.  85,  87,  88,  93, 
100.)  On  east  and  west  of  this  central  group  of  eight  palaces  are 
the  Palace  of  Machinery  and  the  Palace  of  Fine  Arts  (Pp.  105, 112), 
serving  architecturally  to  balance  the  scheme.  East  of  the  exhibit 
palaces  is  the  Joy  Zone,  a  mile-long  street  solidly  built  with  bizarre 
places  of  amusement.  Balancing  the  Zone  on  the  west  is  the  State 
and  Foreign  section,  with  the  live-stock  exhibits,  the  polo  field, 
race  track  and  stadium  beyond,  at  the  western  extremity  of  the 
grounds.  The  state  buildings  stand  along  two  avenues  on  the  north 
side  of  the  section;  the  foreign  pavilions  occupy  its  southern  half. 

The  Tower  of  Jewels  and  the  central  palace  group  face  south  on 
the  Avenue  of  Palms  (p.  18),  which,  at  its  west  end,  turns  as  it 
passes  the  Fine  Arts  lagoon,  and  becomes  the  Avenue  of  Nations. 


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MCLAREN'S  UNIQUE  GARDENING  19 

This  latter  highway,  bordered  by  the  foreign  buildings,  joins  at  its 
western  extremity  the  Esplanade,  a  broad  avenue  passing  the  north 
face  of  the  palace  group  and  continuing  westward  between  the 
state  and  the  foreign  sections. 

On  the  east,  the  Avenue  of  Progress  divides  the  central  group 
from  the  Palace  of  Machinery.  Administration  Avenue  on  the  west 
separates  the  central  group  from  the  Palace  of  Fine  Arts.  Along 
the  bay  shore  is  the  Marina,  and  between  it  and  the  Esplanade  are 
the  Yacht  Harbor  and  the  lawns  of  the  North  Gardens. 

Surrounding  all  these  buildings,  filling  the  courts  and  bordering 
the  avenues,  are  John  McLaren's  lovely  gardens.  For  multitudes 
of  visitors  this  landscape  gardening  is  the  most  wonderful  thing 
about  the  Exposition.  The  trees  and  flowers  have  been  placed  with 
perfect  art;  they  look  as  though  they  had  been  there  always.  It  is 
hard  for  a  stranger  to  believe  that  three  years  ago  the  Exposition 
site  was  a  marsh,  and  that  these  trees  were  transplanted  last  year. 

The  Avenue  of  Palms  is  bordered  on  each  side  for  half  a  mile 
with  a  double  row  of  California  fan  palms  and  Canary  date  palms, 
trees  from  eighteen  to  twenty-five  feet  high  and  festooned  higher 
than  a  man's  head  with  ivy  and  blooming  nasturtium.  (See  p.  18.) 
These  massive  plants,  soil,  roots,  vines  and  all,  were  brought  bod- 
ily from  Golden  Gate  Park.  Against  the  south  walls  of  the  build- 
ings facing  this  avenue  are  banked  hundreds  of  eucalyptus  glob- 
ulus,  forty  to  fifty  feet  high,  with  smaller  varieties  of  eucalyptus, 
and  yellow  flowering  acacias. 

The  Avenue  of  Progress  is  bordered  with  groups  of  Draceona 
indivisa,  averaging  twenty  feet  in  height.  The  walls  of  the  palaces 
on  either  hand  are  clothed  with  tall  Monterey  and  Lawson 
cypresses  and  arbor  vitse.  Between  these  and  the  Draceonas  of 
the  avenue  are  planted  specimens  of  Abies  pinsapo,  the  Spanish  fir. 
Banks  of  flowers  and  vines  cover  the  ground  around  the  bases  of 
the  trees.  Administration  Avenue  has  on  one  side  the  thickets  of 
the  Fine  Arts  lagoon,  on  the  other,  masses  of  eucalyptus  globulus 
against  the  palace  walls,  finished  off  with  other  hardy  trees  and 
shrubs.  Against  the  north  front  of  the  palaces  are  set  Monterey 
cypresses  and  eucalyptus,  banked  with  acacias. 

The  entire  city  side  of  the  South  Gardens  is  bordered  by  a  won- 
drous wall  of  living  green, — not  a  hedge,  but  truly  a  wall, — the 
most  surprising  of  all  McLaren's  inventions.  For  this  wall,  though 
living,  is  not  rooted  in  the  ground,  but  is  really  a  skeleton  of  tim- 
bers, three  times  the  height  of  a  man,  paneled  solidly  on  both  sides 
with  shallow  boxes  of  earth  thickly  set  with  a  tiny  green  plant, 
which,  as  though  crushed  down  by  the  weight  of  its  name,  Mesem- 
bryanthemum  spectabilis,  hugs  the  soil  closely.  Each  box,  really 


20  THE  JEWEL  CITY 

nothing  more  than  a  tray,  is  barely  deep  enough  to  contain  a  cou- 
ple of  inches  of  earth,  and  is  screened  over  with  wire  mesh  to  pre- 
vent the  slice  of  soil  from  falling  out  when  it  is  set  on  edge.  Some 
thousands  of  these  boxes  are  required  to  cover  the  entire  wall, 
which  thus  appears  a  solid  mass  of  greenery.  The  little  plant 
looks  like  the  common  ice-plant  of  old-fashioned  gardens,  and  is 
actually  kin  to  it.  It  asks  little  of  this  world,  is  accustomed  to 
grow  in  difficult  places,  and  is  kept  green  by  sprinkling.  If  a  sec- 
tion of  it  gives  up  the  struggle,  the  tray  may  be  replaced  with  a 
fresh  one.  From  time  to  time  a  blush  of  tiny  pink  flowers  runs 
over  the  wall.  There  seems  to  be  no  season  for  the  blossoms,  but 
whenever  the  sun  shines,  this  delicate  shimmer  of  bloom  appears. 

The  season  opened  in  the  great  sunken  garden  of  the  Court  of 
the  Universe  with  solid  masses  of  rhododendron.  The  Court  of  the 
Ages  was  a  pink  flare  of  hyacinths,  which,  with  an  exquisite  sense 
of  the  desert  feeling  of  the  court,  were  stripped  of  their  leaves  and 
left  to  stand  on  bare  stalks.  The  South  Gardens  and  the  Court  of 
Flowers  were  a  golden  glow  of  daffodils.  Daffodils,  too,  were 
everywhere  else,  with  rhododendron  just  breaking  into  bloom.  The 
daffodil  show  lasted  several  weeks  until,  over  night,  it  was  replaced 
by  acres  of  yellow  tulips  blooming  above  thick  mats  of  pansies. 
This  magic  change  was  merely  the  result  of  McLaren's  forethought. 
The  daffodils  had  all  been  set  at  the  right  time  to  bloom  when  the 
Exposition  opened.  The  pansies  were  set  with  them,  but  were 
unnoticed  beneath  the  taller  daffodils.  Unnoticed  also  were  the 
tulips,  steadily  shooting  upward  to  be  ready  in  bloom  the  moment 
the  daffodils  began  to  fail.  One  night  and  morning  scores  of  work- 
men clipped  off  all  the  fading  daffodils,  and  left  a  yellow  sea  of 
tulips  with  cups  just  opening.  When  the  tulips  faded  early,  because 
of  continued  rains,  the  solid  masses  of  pansies  remained  to  keep 
up  the  golden  show.  With  the  end  of  the  yellow  period  came  three 
months  of  pink  flowers,  to  be  followed  in  the  closing  third  of  the 
Exposition's  life  by  a  show  of  variegated  blooms. 

This  marvelous  sequence  of  flowers  without  a  gap  is  not  the 
result  of  chance,  or  even  of  California's  floral  prodigality,  but  of 
McLaren's  hard-headed  calculation.  He  actually  rehearsed  the 
whole  floral  scheme  of  the  Exposition  for  three  seasons  before- 
hand. To  a  day,  he  knew  the  time  that  would  elapse  between  the 
planting  and  the  blooming  of  any  flower  he  planned  to  use.  Thus 
he  scheduled  his  gardening  for  the  whole  season  so  that  the  gar- 
dens should  always  be  in  full  bloom.  In  McLaren's  program  there 
are  ten  months  of  constant  bloom,  without  a  break,  without  a  wait. 
No  such  gardening  was  ever  seen  before.  Needless  to  say,  it 
could  hardly  have  been  attempted  elsewhere  than  in  California. 


III. 

THE  SOUTH  GARDENS 

A  charming  foreground  to  the  great  palaces — Palace  of  Horticulture 
and  some  of  its  rare  plants — Food  for  pirates — Ancient  and 
blue-blooded  forest  dwarfs — The  Horticultural  Gardens — 
House  of  Hoo  Hoo — Festival  Hall,  with  its  fine  sculptures  by 
Sherry  Fry — A  remarkable  pipe  organ. 

NTERING  the  Exposition  by  the  main  or  Scott  Street 
gate,  the  visitor  has  before  him  the  beautiful  SOUTH 
GARDENS.  (See  p.  23.)  These  form  an  animated  and 
effective  foreground  for  the  Exposition  palaces. 
Except  for  their  fountains,  the  gardens  and  the  struc- 
tures in  them  are  less  notable  for  sculpture  than  the  central  courts 
of  the  Exposition.  Most  of  the  plastic  work  here  is  purely  deco- 
rative. The  gardens  are  formal,  French  in  style,  laid  out  with  long 
rectangular  pools,  each  with  a  formal  fountain,  and  each  sur- 
rounded by  a  conventional  balustrade  with  flower  receptacles  and 
lamp  standards.  In  harmony  with  their  surroundings,  the  build- 
ings, too,  are  French,  of  florid,  festival  style. 

The  PALACE  OF  HORTICULTURE,  Bakewell  and  Brown,  archi- 
tects, is  the  largest  and  most  splendid  of  the  garden  structures. 
(P.  24.)  Byzantine  in  its  architecture,  suggesting  the  Mosque  of 
Ahmed  I,  at  Constantinople,  its  Gallic  decorations  have  made  it 
essentially  French  in  spirit.  The  ornamentation  of  this  palace  is 
the  most  florid  of  any  building  in  the  Exposition  proper.  Yet  this 
opulence  is  not  inappropriate.  In  size  and  form,  no  less  than  in 
theme,  the  structure  is  well  adapted  to  carry  such  rich  decoration. 
This  is  the  palace  of  the  bounty  of  nature;  its  adornment  symbol- 
izes the  rich  yield  of  California  fields. 

In  harmony  also  with  the  theme,  the  human  figure  is  absent 
from  the  sculpture,  save  in  the  caryatids  of  the  porches  and  the 
groups  supporting  the  tall  finials.  Fruits  and  flowers,  interwoven 
in  heavy  garlands  and  overflowing  from  baskets  and  urns,  carry 
out  the  idea  of  profuse  abundance.  The  great  dome,  larger  than 
the  dome  of  either  St.  Peter's  at  Rome  or  the  Pantheon  at  Paris, 
is  itself  an  overturned  fruit  basket,  with  a  second  latticed  basket 
on  its  top.  The  conception  of  profusion  becomes  almost  barbaric 
in  the  three  pavilioned  entrances,  flanked  on  either  side  by  the 
tall  finials  suggesting  minarets.  Here  the  Oriental  influence  of 
the  architectural  form,  the  mosque,  becomes  most  pronounced, 
changing  to  French  again  in  the  caryatid  porches. 

Altogether,  the  Palace  of  Horticulture  is  a  beautiful  building, 


22  THE  JEWEL  CITY 

but  rather  hard  to  see  properly  from  the  ground.  From  an  eleva- 
tion, where  it  appears  more  as  a  whole,  it  is  far  more  effective. 
Curiously,  it  photographs  better  than  any  other  building  here,  save 
the  Fine  Arts  Palace,  but  in  actual  view  it  hardly  lives  up  to  the 
pictures.  Perhaps  this  is  because  the  comparatively  small  portions 
of  the  structure  seen  between  the  trees  near-by  are  dwarfed  by  the 
huge  dome,  while  in  photographs  the  camera  emphasizes  the  lower 
and  nearer  sections  and  reduces  the  proportions  of  the  dome. 

The  exhibit  housed  under  the  great  dome  should  not  be  passed 
by.  A  vivid  bit  of  the  tropics  is  the  Cuban  display.  Here,  in  an 
atmosphere  artificially  heated  and  moistened  to  reproduce  the 
steaming  jungle,  is  massed  a  splendid  exhibit  of  those  island  trees 
and  flowers  that  most  of  us  know  only  through  pictures  and  stories 
of  southern  seas.  Around  the  central  source  of  light,  which  is 
hidden  under  tropic  vines,  stands  a  circle  of  royal  palms;  and 
planted  thickly  over  the  remaining  space  are  jungle  trees,  vivid 
enough  to  our  imagination,  but  many  of  which  have  never  before 
been  seen  in  this  country. 

Boys  who  feel  pirate  blood  in  their  veins  will  revel  in  this 
reproduction  of  the  scenes  of  imagined  adventure.  Any  reasonable 
pirate  could  be  quite  happy  here.  For  here  is  the  breadfruit  tree, 
read  of  in  many  a  tale  of  castaways;  also  the  cocoanut  palm,  with 
the  fruits  hanging  among  the  fronds,  waiting  for  the  legendary 
monkey  to  scamper  up  the  trunk  and  hurl  the  great  balls  at  the 
heads  of  the  beholders.  Here,  too,  are  the  mango,  and  many  sorts 
of  bananas,  and  the  cabbage  palm,  another  favorite  resource  of 
starving  adventurers.  With  these  there  are  other  jungle  deni- 
zens,— the  bamboo  palm,  the  paperleaf  palm,  splendid  specimens 
of  the  world-old  cycad  family,  the  guanabana,  and  a  Tom  Thumb 
palm,  which,  full  grown,  is  no  more  than  a  handbreadth  high. 

Ancient  among  trees  are  the  two  specimens  of  microcycas  from 
the  swamps  of  Cuba.  These  Methuselahs  of  the  forest  are  at  least 
1,000  years  old,  according  to  the  botanists.  They  are  among  the 
slowest  growing  of  living  things,  and  neither  of  them  is  much  taller 
than  a  man.  They  were  seedlings  when  Alfred  the  Great  ruled 
England,  and  perhaps  four  feet  high  when  Columbus  first  broke 
through  the  western  seas.  In  the  four  centuries  of  Cuban  history 
they  have  not  grown  so  much  again. 

These  venerable  trees  belong  to  the  bluest-blooded  aristocracy 
of  the  vegetable  world.  Ages  ago  they  inhabited  our  northern 
states.  Their  family  has  come  down  practically  unchanged  from 
the  steaming  days  of  the  Carboniferous  period,  when  ferns  grew 
one  hundred  feet  high,  and  thronged  with  other  rank  tropical 


THE  HOUSE  OF  HOO  HOO  25 

growths  in  matted  masses  to  form  the  coal  measures.  The  fossil 
remains  of  cycads  in  the  rocks  of  that  period  prove  that  they  once 
flourished  in  the  tropic  swamps  where  now  are  the  hills  of  Wyo- 
ming and  Dakota. 

Scattered  among  the  trees  is  a  host  of  flowering  vines,  of  huge 
crotons  with  variegated  leaves,  giant  gardenias  and  tropical  lilies. 
When  these  bloom,  the  air  of  this  transplanted  jungle  is  heavy 
with  the  perfume  of  their  own  island  habitat. 

The  HORTICULTURAL  GARDENS  south  of  the  Palace  belong 
to  it,  and  contain  a  large  part  of  the  horticultural  exhibits.  As  they 
were  planted  for  competitive  exhibition  purposes,  they  will  not 
show  the  constant  beauty  that  appears  in  the  South  Gardens.  Here 
we  must  wait  for  the  flowers  in  their  season,  and  not  expect  to 
have  them  changed  overnight  for  us  by  the  gardeners'  magic. 

Back  of  this  horticultural  garden  is  the  HOUSE  OF  HOO  HOO, 
in  Forestry  Court,  flanked  by  the  Pine  and  Redwood  Bungalows. 
It  needs  but  a  glance  at  its  beguiling  loveliness  to  know  that  here 
is  another  lesson  in  art  and  architecture  by  Bernard  Maybeck. 
Here  again  is  poetry  in  architecture,  of  a  different  order  from  the 
noble  theme  of  Maybeck's  Fine  Arts  Palace,  but  none  the  less 
poetry.  This  is  a  sylvan  idyll,  telling  of  lofty  trees,  cool  shades, 
and  secret  bowers  of  fern  and  vine  and  wild  flower,  in  the  moist 
and  tangled  redwood  forests.  There  is  little  used  but  rough-barked 
tree  trunks,  but  what  delicate  harmony  of  arrangement  1 

This  lumbermen's  lodge  is  one  building  outside  the  Exposition 
palaces  that  should  not  be  missed,  even  though  almost  hidden  away 
against  the  south  wall.  It  is  worth  pondering  over.  No  one  may 
want  to  build  a  house  like  it,  but  it  proclaims  how  beauty  can  be 
attained  with  simple  materials  and  just  proportions. 

FESTIVAL  HALL,  Robert  Farquhar,  architect,  balances  the 
Palace  of  Horticulture  in  the  architectural  plan  of  the  South  Gar- 
dens. (P.  29.)  It,  too,  is  French  in  style,  its  architecture  suggested 
by  the  Theatre  des  Beaux  Arts  in  Paris,  a  design  which  furnished 
the  dome  necessary  to  harmonize  with  that  of  the  palace  to  the 
west.  As  architecture,  however,  it  fails  to  hold  up  its  end  with  the 
splendid  Horticultural  Palace.  Its  dome  is  too  large,  and  has  too 
little  structure  around  it,  to  be  placed  so  near  the  ground  without 
an  effect  of  squattiness.  Its  festive  adornment  is  extremely  mod- 
erate. On  the  cornice  above  the  main  entrance  is  the  rhyton,  the 
ancient  Greek  drinking  horn,  symbol  of  festivity. 

The  sculpture,  all  done  by  Sherry  E.  Fry,  carries  out  the  same 
idea.  The  graceful  figures  poised  on  the  corner  domes  are  Torch 
Bearers.  On  the  pylons  at  either  end  of  the  semicircular  arcade  of 
the  main  entrance  are  two  reclining  figures.  On  the  right  is 


26  THE  JEWEL  CITY 

Bacchus,  with  his  grapes  and  wineskin, — a  magnificently  "pickled" 
Bacchus!  On  the  left  a  woman  is  listening  to  the  strains  of  festal 
music.  (P.  32.)  Each  of  the  pedestals  before  the  false  windows  at 
the  ends  of  the  arcade  supports  a  figure  of  Flora  with  garlands  of 
flowers.  On  the  ground  below  the  two  Floras  are  two  of  the  most 
delightful  pieces  of  all  the  Exposition  sculpture.  One  is  a  little 
Pan,  pipes  in  hand,  sitting  on  a  skin  spread  over  an  Ionic  capital. 
This  is  a  real  boy,  crouching  to  watch  the  lizard  that  has  crawled 
out  from  beneath  the  stone.  The  other  is  a  young  girl  dreaming 
the  dreams  of  childhood.  There  is  something  essentially  girlish 
about  this.  Unfortunately,  it  is  now  almost  hidden  by  shrubbery. 

Within  Festival  Hall  is  one  of  the  half-dozen  greatest  organs  in 
the  world.  It  has  more  than  7,000  pipes.  The  heaviest  of  them 
weigh  as  much  as  1,200  pounds  apiece.  Though  mere  size  is  not 
the  essential  quality  of  a  fine  instrument,  it  is  hard  to  ignore  the 
real  immensity  of  this.  The  echo  organ  alone  is  larger  than  most 
pipe  organs.  This  complementary  instrument,  which  is  played 
from  the  console  of  the  main  organ,  is  placed  under  the  roof  of 
the  hall,  above  the  center  of  the  ceiling.  Its  tones,  floating  down 
through  the  apertures  in  the  dome,  echo  the  themes  of  the  great 
organ. 

Few  organs  have  so  mighty  a  note  as  the  sixty-four-foot  open 
pitch  attainable  on  the  Exposition's  instrument.  Speaking  by 
itself,  this  note  has  no  sound.  It  is  only  a  tremendous  quaking  of 
the  whole  building,  as  though  the  earth  were  shuddering.  By  itself 
it  has  no  place  in  organ  music.  It  is  not  intended  to  be  struck 
alone.  It  is  used  only  as  a  foundation  upon  which  to  build  other 
tones.  In  combination  it  adds  majesty  to  the  music,  rumbling  in  a 
gigantic  undertone  to  the  lighter  notes. 

Even  the  open  stops  in  this  organ  are  of  more  than  ordinary 
dimensions.  The  usual  limit  in  a  pipe  organ  is  the  sixteen-foot 
open  stop.  But  in  this  organ  there  are  several  pipes,  both  of  wood 
and  of  metal,  thirty-two  feet  or  more  in  length. 

Two  small  buildings,  balanced  on  either  side  of  the  Scott-street 
entrance,  are  the  Press  Building  and  the  Exposition  home  of  the 
National  Young  Women's  Christian  Association.  They  are  alike, 
French  in  style,  and  fronted  with  caryatid  porches. 

The  real  glory  of  the  South  Gardens  lies  in  their  flowers,  and 
in  the  charming  setting  the  landscape  engineers  have  here  given 
to  the  south  facade  of  the  palace  group.  There  is  the  air  of 
Versailles  in  the  planned  gayety  of  the  scene.  In  this  the  pools 
and  fountains,  the  formal  gardens,  the  massed  trees  and  shrubbery, 
and  the  two  palaces  themselves,  play  their  part. 


IV. 

"THE   WALLED    CITY":    ITS    GREAT    PALACES    AND    THEIR 
ARCHITECTURE,  COLOR  AND  MATERIAL 

The  central  group  of  Exposition  structures  really  a  single  vast  pal- 
ace, behind  a  rampart — Historical  fitness  of  such  architecture 
here — The  south  facade — Spanish  portals  of  Varied  Industries 
and  Education  Palaces — Italian  Renaissance  portals  of  Manu- 
factures and  Liberal  Arts,  and  of  the  Courts  of  Flowers  and 
Palms — The  Roman  west  wall — Ornate  doorway  of  north 
facade — Interior  courts  and  aisles — A  balanced  plan — This  the 
first  exposition  to  adopt  the  colors  of  nature  for  its  struc- 
tures— Jules  Guerin's  color  scheme,  designed  for  an  artificial 
travertine  marble — -Simplicity  of  his  palette,  from  which  he 
painted  the  entire  Exposition — Even  the  flowers  and  sanded 
walks  conform. 

LTHOUGH  there  are  eight  buildings  named  in  the  cen- 
tral palace  group,  these  are  so  closely  connected  in 
design  and  structure  that  in  reality  they  make  but  one 
palace.  Here  is  seen  the  unity  with  variety  which 
marks  this  Exposition  above  all  others.  Commemorat- 
ing a  great  international  event,  its  architecture  is  purposely 
eclectic,  cosmopolitan.  Under  a  dominating  Moorish-Spanish  gen- 
eral form,  the  single  architect  of  the  group,  W.  B.  Faville,  of  San 
Francisco,  drawing  upon  the  famous  styles  of  many  lands  and 
schools,  has  combined  into  an  ordered  and  vastly  impressive  whole 
not  only  the  structural  art  of  Orient  and  of  the  great  Spanish 
builders,  but  also  the  principles  of  the  Italian  Renaissance  and  the 
architecture  of  Greece  and  Rome  from  which  it  sprang.  Thus 
the  group  is  wholly  Southern  in  its  origin.  There  is  no  suggestion 
here  of  the  colder  Gothic  architecture  of  the  North. 

Differing  from  each  other  in  many  details,  the  eight  palaces  are 
alike  in  their  outer  walls,  their  domes  and  gables,  and  similar  in 
their  entrances.  These  portals  give  a  distinctive  character  to  each 
palace.  While  the  palaces  differ  widely  in  details  of  decoration, 
they  all  have  a  common  source;  they  are  all  Mediterranean, — not  all 
Byzantine,  or  Roman,  or  Italian,  or  Spanish,  or  Moorish,  but  some- 
thing of  each.  The  manner  in  which  these  forms  are  carried  over 
from  one  palace  to  another,  and  the  almost  constant  recurrence  of 
some  of  them,  like  the  Moorish  domes  at  the  corners,  blends  them 
without  jar  or  break.  The  great  wall,  almost  blank,  except  for  the 
entrances,  incloses  the  palaces  like  a  walled  city  of  the  Mediter- 
ranean or  the  nearer  Orient.  Such  a  walled  city  it  is,  with  its 


28  THE  JEWEL  CITY 

courts,  its  avenues,  its  fountains  and  pools,  all  placed  in  a  setting 
of  landscape,  sea  and  sky,  that  might  belong  to  Spain,  or  Southern 
Italy,  or  the  lands  of  the  Moslem. 

The  broad,  unbroken  spaces  that  mark  each  face  of  this  vast 
block  greatly  heighten  the  illusion.  They  lend  an  Old-World 
aspect,  the  historical  fitness  of  which  must  not  be  overlooked.  For 
these  plain  surfaces  are  indeed  significant  in  the  celebration  of  an 
event  which  was  predicted  by  the  Spanish  conquistadors  a  century 
before  the  English  Cavaliers  and  Puritans  laid  the  foundations  of 
our  American  Commonwealth.  Relieved  only  by  the  foliage  that  is 
finely  massed  against  them,  the  great  blank  spaces  of  the  "Walled 
City"  recall  the  severer  side  of  Mediterranean  architecture,  just  as 
their  gorgeously  ornate  portals,  towers  and  domes  speak  of  its 
warmth  and  color.  They  are  an  architectural  feature  that  has  trav- 
eled far.  The  unbroken  rampart,  born  of  the  need  of  defense  in 
immemorial  cities  on  the  east  and  south  shores  of  the  Mediterra- 
nean, was  carried  thence  by  the  Moors  to  Spain,  to  go  in  turn  with 
the  conquerors  of  the  New  World,  and  became  a  characteristic  of 
the  civic  and  ecclesiastical  architecture  of  Latin  America.  Hence 
it  is  not  without  meaning  and  reason  that  this  historic  architectu- 
ral form,  the  blank  exterior  of  the  walled  city,  has  found  its  finest 
use  in  the  far-western  city  of  St.  Francis.  Quite  apart  from  their 
frequent  occurrence  in  the  mission  architecture  of  old  Alta  Cali- 
fornia, these  simple  wall-spaces  well  befit  the  monumental  struc- 
ture that  honors  an  achievement  so  important  to  all  Spanish 
America  as  the  Panama  Canal. 

The  southern  front  of  the  group,  facing  the  Avenue  of  Palms, 
has  the  aspect  of  a  single  palace,  opened  in  the  center  by  the  noble 
Roman  arch  of  the  Tower  of  Jewels,  and  indented  by  the  Court  of 
Flowers  and  the  Court  of  Palms.  (See  pp.  18,  77.)  Seen  across 
the  South  Gardens,  the  whole  facade  rising  from  the  trees  along  the 
wall,  is  wondrously  beautiful.  The  wall  is  seventy  feet  high, 
topped  with  a  red-tiled  roof.  The  pale  green  domes  over  the  centers 
of  the  palaces  are  Byzantine,  a  style  much  used  in  the  mosques  of 
Islam.  The  gables  are  each  crowned  with  a  figure  of  Victory, 
sometimes  called  an  "acroterium,"  from  the  architectural  name  of 
the  tablet  on  which  it  stands.  The  towers  on  either  side  of  the 
entrances  to  the  courts  are  Italian.  The  little  towers  buttressing 
the  domes  on  the  corners  of  the  palaces  at  the  extreme  right  and 
left  of  the  front,  and  from  there  repeated  around  the  east,  west 
and  north  walls,  are  Moorish,  with  characteristic  latticed  windows. 

The  PALACE  OF  VARIED  INDUSTRIES,  on  the  extreme  right, 
is  made  entirely  Spanish  in  its  southern  front  by  its  beautiful  cen- 
tral portal,  modeled  after  the  sixteenth-century  entrance  to  the 


4 


1 


1 


FESTIVAL  HALL,  the  great  auditorium  of  the  Exposition.  Beyond  the  pool  in  the 
foreground  is  Arthur  Putnam's  charming  MERMAID  FOUNTAIN.  On  the  pylons 
at  the  right  and  left  of  the  entrance  are  Sherry  Fry's  reclining  figures,  BACCHUS 
and  the  LISTENING  WOMAN. 

(  P  .  29  ) 


THE     MARINA. 

EG 


o    vouo    FltL03l 


UNITED     STAT65 
G.QVER.MME.IST     RESERVATtOtS- 


1.  Fountain  of  Energy. 

2.  Fountain  of  the  Setting  Sun. 

3.  Fountain  of  the  Rising  Sun. 

4.  Column  of  Progress. 

5.  Great  Northern  Railway. 

6.  Canadian  Pacific  Railway. 

7.  Grand  Trunk  Pacific  Railway. 

8.  Fire  Engines. 

9.  Service  Building. 
10.  Press  Building. 


GROUNDS  ANI 
THE  PANAMA-PACIFK 

11.  Young  Women's  Christian  Association. 

12.  House  of  Hoo  Hoo. 

13.  Guatemala. 

14.  Panama. 

15.  Honduras. 

16.  Greece. 

17.  Norway. 

18.  Australia. 

19.  New  Zealand 

20.  Cuba. 


(  P.  30  ) 


BUILDINGS  OF 
INTERNATIONAL  EXPOSITION 

21.  Portugal. 

22.  Denmark. 

24.  Turkey. 

25.  Siam. 

26.  Y.  M.  C.  A.  (Enlisted  Men's  Clubhouse). 

27.  Bolivia. 

28.  Indiana. 

29.  Massachusetts. 

30.  Mississippi. 

31.  Arkansas  and  Oklahoma. 

32.  Kansas. 


33.  West  Virginia. 

34.  North  Dakota. 

37.  Maryland. 

38.  Montana. 
40.  Idaho, 
hi.  Missouri. 

42.  Nevada. 

43.  Wisconsin. 

44.  Utah. 

45.  Argentine  Republic. 

46.  Hawaiian  Islands. 


(  P.  31  ) 


m 

IE 


YOUNG   GIRL   and   LISTENING   WOMAN,   two  of  the  fine   sculptures   done   by 
Sherry  Fry  for  Festival  Hall. 


(  P.  32  ) 


A  FAMOUS  DOORWAY  33 

Hospice  of  Santa  Cruz  at  Toledo.  (Pp.  18,  37.)  Except  for  the 
sculpture,  in  which  the  Spanish  saints  have  been  replaced  by  fig- 
ures of  industry,  the  portal  is  a  copy  of  the  original.  All  the  fig- 
ures are  the  work  of  Ralph  Stackpole,  whose  treatment  of  the  sub- 
jects, no  less  than  their  exalted  position  in  the  niches  of  the  saints, 
has  dignified  the  workman. 

On  each  side  of  the  entrance  is  the  "Man  with  a  Pick."  The 
group  in  the  tympanum  represents  Varied  Industries.  (P.  138.) 
The  central  figure  is  Agriculture,  the  basic  food-supplying  indus- 
try. On  one  side  is  the  Builder,  on  the  other  the  Common  Work- 
man. Beyond  them  are  Commerce  holding  the  figurehead  of  a  ship, 
and  a  woman  with  a  spindle,  a  lamb  before  her,  typifying  the  tex- 
tile industries. 

The  figure  in  the  keystone  represents  the  Power  of  Industry. 
Under  the  ufcper  canopy  is  an  old  man  handing  his  burden  to  a 
younger  one,  the  Old  World  passing  its  burdens  on  to  the  New 
World.  The  infant  figures  come  from  the  Spanish  original. 

The  two  lesser  portals  on  the  south  side  of  this  palace  are  like- 
wise Spanish.  In  the  grill  work  of  their  openings,  designed  in 
imitation  of  metal,  as  well  as  in  that  of  the  central  portal,  there  is 
a  strong  suggestion  of  the  Arabian  architecture  brought  into  Spain 
by  the  Moors.  Indeed,  there  is  something  Moorish  about  the  whole 
work,  except  that  the  Mohammedans  do  not  represent  living  things 
in  art.  A  passage  in  the  Koran  tells  devout  follows  of  the  prophet 
that  if  they  should  carve  or  picture  a  plant  or  animal  they  would 
be  called  upon  at  the  Judgment  to  make  it  real.  Sometimes,  how- 
ever, they  employed  Christian  workmen  to  execute  such  repre- 
sentations, being  quite  resigned  to  let  the  unbeliever  risk  dam- 
nation. 

The  bears  terminating  the  buttresses  on  the  walls  represent 
California,  and  hold  the  seal  of  the  State.  Such  buttresses  against 
a  plain  wall,  with  a  tiled  roof,  are  common  in  the  Franciscan  mis- 
sions of  California. 

The  PALACES  OF  MANUFACTURES  and  LIBERAL  ARTS,  on 
either  side  of  the  Tower  of  Jewels,  are  alike  on  the  south,  and 
Italian.  The  Moorish  corner  domes  are  omitted  here,  as  the  palaces 
terminate  on  one  side  in  one  of  the  Italian  towers  and  on  the  qther 
in  the  wings  of  the  Tower  of  Jewels.  The  central  portals  are  Italian, 
with  tiled  roofs  and  latticed  grills,  with  handsome  imitations 
of  bronze  work  under  the  arches.  The  friezes  over  the  arches  as 
well  as  the  figures  in  the  niches  are  by  Mahonri  Young,  of  New 
York.  The  frieze  represents  industries  of  various  kinds,  the  work 
of  women  as  well  as  of  men.  In  the  niche  on  the  left  is  a  woman 
with  a  spindle,  on  the  right  a  workman  with  a  sledgehammer.  Like 


34  THE  JEWEL  CITY 

Stackpole's  figures  on  the  portal  of  Varied  Industries,  Young's 
sculptures  are  simple  and  strong.  The  lion  used  as  the  keystone 
figure  of  the  arch  and  the  lions  and  elephants  alternating  as  foun- 
tain heads  in  the  niches  in  the  wall  give  an  Oriental  touch  to  these 
palaces. 

Of  their  portals  none  are  more  beautiful  than  those  leading 
from  the  COURTS  OF  FLOWERS  and  PALMS.  All  four  are  finely 
expressive  of  the  noblest  architecture  of  the  Italian  Renaissance. 
They  glow  with  the  sunshine  and  color  of  Italy.  Those  entering 
the  Palaces  of  Liberal  Arts  and  Education  from  the  Court  of  Palms 
are  identical  in  design,  and  seem  almost  perfect  in  their  harmo- 
nious lines  and  warm  color.  (P.  88.)  The  other  pair,  opening  from 
the  Palaces  of  Manufactures  and  Varied  Industries  into  the  Court 
of  Flowers,  are  cheery  portals,  made  more  domestic  in  feeling  by 
the  loggia  between  the  colonnade  and  the  tiled  roof.  (Pp.  85,  100.) 

The  three  portals  of  the  PALACE  OF  EDUCATION  are  of  the 
Spanish  Renaissance,  and  the  Moorish  towers  reappear  at  the  cor- 
ners. The  twisted  columns  of  the  entrances  are  Byzantine.  The 
tympanum  above  the  central  portal  contains  Gustav  Gerlach's 
group  "Education."  (P.  138.)  In  the  center  is  the  teacher  with 
her  pupils,  seated  under  the  Tree  of  Knowledge;  on  the  left,  the 
mother  instructs  her  children;  on  the  right,  the  young  man,  his 
school  days  past,  is  working  out  for  himself  a  problem  of  science. 
Thus  the  group  pictures  the  various  stages  of  education,  from  its 
beginning  at  home  to  that  training  in  the  school  of  life  which  ends 
only  at  death.  The  cartouche  just  above  the  entrance  bears  the 
Book  of  Knowledge,  shedding  light  in  all  directions,  the  curtains 
of  darkness  drawn  back  by  the  figures  at  the  side.  The  hour  glass 
below  the  book  counsels  the  diligent  use  of  time;  the  crown  above 
symbolizes  the  reward  of  knowledge.  The  banded  globe  over  the 
portal  signifies  that  education  encompasses  the  world. 

Above  each  of  the  flanking  portals  is  an  inset  panel  represent- 
ing the  Teacher,  a  woman  at  the  left,  a  man  at  the  right.  The  man 
looks  toward  the  woman,  thus  signifying  that  the  world  is  no 
longer  dependent  on  man  alone. 

Turning  the  corner,  the  entire  west  wall  of  the  palaces  becomes 
Roman  to  accord  with  the  Roman  Palace  of  Fine  Arts  across  the 
lagoon.  The  characteristic  features  are  the  Roman  half-domes 
above  the  entrances,  and  the  sculptures  repeated  in  the  niches  of 
the  walls.  (P.  119.)  On  this  side,  the  Palaces  of  Education  and 
Food  Products  are  alike,  except  for  a  slight  difference  in  the  ves- 
tibule statuary  and  the  fountains. 

On  the  great  Sienna  columns  beside  the  half-domes  stands 
Ralph  Stackpole's  "Thought."  The  semi-circle  of  female  figures 


IS  THE  PIRATE  BOW-LEGGED?  35 

in  the  vestibule  of  the  dome  of  the  Palace  of  Education,  bearing  in 
their  hands  books  with  the  motto  "Ex  Libris,"  though  the  prepo- 
sition is  omitted,  represents  the  store  of  knowledge  in  books.  The 
similar  array  of  men  bearing  wreaths  of  cereals  in  the  half-dome 
of  the  Palace  of  Food  Products  signifies  the  source  of  vigor  in  the 
fruits  of  the  soil.  The  simple  Italian  fountains  in  the  vestibules, 
the  work  of  W.  B.  Faville,  are  decorative  and  beautiful. 

The  alternated  groups  in  the  niches  along  the  wall  are  "The  Tri- 
umph of  the  Fields"  and  "Abundance."  This  is  well  called  archaeo- 
logical sculpture,  for  the  emblems  are  from  the  dim  past,  and  can 
be  understood  only  with  the  help  of  an  archaeological  encyclopae- 
dia. In  the  first  are  the  bull  standard  and  the  Celtic  cross,  which 
were  carried  through  the  fields  in  ancient  harvest  festivals.  In  the 
second,  the  objects  heaped  around  the  lady  suggest  abundance. 

The  north  facade  of  the  palace  group  is  an  unbroken  Spanish 
wall,  blank,  except  for  the  four  beautiful  and  identical  sixteenth- 
century  portals.  (See  p.  43.)  This  magnificent  decoration,  sug- 
gestive of  the  finest  work  in  rare  metals,  is,  in  fact,  called  "plater- 
esque,"  from  its  resemblance  to  the  work  of  silversmiths.  The 
figures  looking  out  on  the  blue  water  that  reaches  to  Panama  and 
the  shores  of  Peru,  are  historical.  In  the  center  is  the  Conquista- 
dor. Flanking  his  stately  figure  on  each  side  is  the  pirate  of  the 
Spanish  Main,  the  adventurer  who  served  with  but  a  color  of  law- 
ful war  under  Drake,  the  buccaneer  that  followed  Morgan  to  the 
sack  of  Panama.  (P.  44.)  These  statues  are  by  Allen  Newman. 

Every  man  jack  of  the  eight  pirates  on  the  four  portals  is  appar- 
ently bow-legged.  There  is  a  vast  space  between  the  knees  of  these 
buccaneers  of  Panama,  but  when  you  look  more  closely  it  is  hard 
to  decide  whether  those  pirate  knees  are  really  sprung,  or  whether 
it  is  the  posture  of  the  figures  that  suggests  the  old  quip  about  the 
pig  in  the  alley.  The  sculptor  has  at  least  given  to  the  figures  a 
curious  effect  of  bandy  legs.  The  feet  are  set  wide  apart,  the  space 
between  and  behind  the  legs  is  deeply  hollowed  out,  and  the  rope 
which  hangs  from  the  hands  curves  in  over  the  feet  to  add  to  the 
illusion.  There  used  to  be  a  saying  that  cross-eyed  people  could 
not  be  honest.  Similarly,  perhaps,  Newman  thought  the  appear- 
ance of  bow-legs  would  increase  the  villainy  of  his  pirate.  Cer- 
tainly, no  such  blood-curdling  ruffian  has  been  seen  out  of  comic 
opera. 

The  east  wall  of  the  palace  group  becomes  Old  Italian,  to  har- 
monize with  the  Roman  architecture  of  the  Machinery  Palace 
opposite.  The  portals  suggest  those  of  ancient  Italian  city  walls. 
In  the  niches  stands  Albert  Weinert's  "Miner,"  here  used  because 
the  Palace  of  Mines  forms  one  half  the  wall. 


36  THE  JEWEL  CITY 

In  the  long  avenue  that  runs  east  and  west  through  the  center  of 
the  group,  the  unity  of  the  eight  buildings  becomes  more  apparent 
as  we  view  the  noble  arches  which  join  them,  and  note  the  char- 
acter of  their  inner  facades.  Education  and  Food  Products  are 
alike  in  the  walls  and  portals  fronting  on  the  dividing  aisle.  The 
Spanish  architecture  of  the  south  facade  of  Education  is  here  car- 
ried over  to  Food  Products.  Similarly,  the  avenue  between  Mines 
and  Varied  Industries  is  the  same  on  both  sides,  carrying  out  the 
Old  Italian  of  the  east  front,  and  with  The  Miner  repeated  in  the 
portal  niches  of  both  palaces.  The  avenues  leading  from  the  Court 
of  the  Universe  to  the  Court  of  Ages  and  the  Court  of  Seasons  have 
been  variously  called  the  Aisles  of  the  Rising  and  the  Setting  Sun, 
or  the  Venetian  and  Florentine  Aisles.  Their  four  walls  are  in  the 
style  of  the  Italian  Renaissance,  and  show  a  diaper  design  similar 
to  that  on  the  Italian  towers  of  the  Courts  of  Flowers  and  Palms. 

In  an  artistic  sense,  this  group  is  incomplete  without  the  PAL- 
ACE OF  FINE  ARTS  on  the  west  and  MACHINERY  HALL  on  the 
east.  (Pp.  105,  106.)  Balancing  each  other  in  the  general  scheme, 
they  form  the  necessary  terminals  of  the  axis  of  the  Exposition 
plan.  This  matter  of  balance  has  been  carefully  thought  out  every- 
where, and  affords  a  fine  example  of  the  co-operation  of  the  many 
architects  who  worked  out  the  vast  general  design.  The  Courts  of 
Seasons  and  Ages  are  set  off  against  each  other;  the  Courts  of  Palms 
and  Flowers  weigh  equally  one  against  the  other;  the  Arches  of  the 
Nations  not  only  balance  but  match;  even  the  Tower  of  Jewels, 
which  is  the  center  of  the  whole  plan,  is  offset  by  the  Column  of 
Progress.  In  the  South  Gardens,  the  Palace  of  Horticulture  is  bal- 
anced against  Festival  Hall. 

COLOR  AND  MATERIAL. — All  other  Expositions  have  been 
almost  colorless.  This  is  the  first  to  make  use  of  the  natural  colors 
of  sea  and  sky,  of  hill  and  tree,  and  to  lay  upon  all  its  grounds  and 
buildings  tints  that  harmonize  with  these.  Jules  Guerin,  the  master 
colorist,  was  the  artist  who  used  the  Exposition  as  a  canvas  on 
which  to  spread  glorious  hues.  Guerin  decided,  first,  that  the  basic 
material  of  the  buildings  should  be  an  imitation  of  the  travertine 
of  ancient  Roman  palaces.  On  this  delicate  old  ivory  background 
he  laid  a  simple  series  of  warm,  yet  quiet,  Oriental  hues,  which,  in 
their  adaptation  to  the  material  of  construction  and  to  the  archi- 
tecture, as  well  as  in  their  exquisite  harmony  with  the  natural  set- 
ting, breeds  a  vast  respect  for  his  art. 

The  color  scheme  covers  everything,  from  the  domes  of  the 
buildings  down  to  the  sand  in  the  driveways  and  the  uniforms  of 
the  Exposition  guards.  The  walls,  the  flags  and  pennants  that 
wave  over  the  buildings,  the  shields  and  other  emblems  of  heraldry 


SOUTH  PORTAL,  PALACE  OF  VARIED  INDUSTRIES.  This  is  the  most  elaborately 
ornamented  doorway  in  the  Exposition,  an  adaptation  from  the  celebrated  Six- 
teenth-century portal  of  the  Hospice  of  Santa  Cruz,  Toledo,  Spain.  Photo- 
graphed at  night. 

(  P.  37  ) 


GUERIN'S  PALETTE  OF  EXPOSITION  COLORS  39 

that  hide  the  sources  of  light,  draw  their  hues  from  Guerin's  plan. 
The  flowers  of  the  garden  conform  to  it,  the  statuary  is  tinted  in 
accordance  with  it,  and  even  the  painters  whose  mural  pictures 
adorn  the  courts  and  arches  and  the  Fine  Arts  Rotunda  were 
obliged  to  use  his  color  series.  The  result  gives  such  life  and 
beauty  and  individuality  to  this  Exposition  as  no  other  ever  had. 
It  makes  possible  such  beautiful  ornamentation  as  the  splendid 
Nubian  columns  of  the  Palace  of  Fine  Arts,  and  the  glories  of  the 
arches  of  the  Court  of  the  Universe.  (See  frontispiece.) 

Go  into  that  Court  on  a  bright  day  and  take  note  of  the  art  that 
has  made  Nature  herself  a  part  of  the  color  plan.  From  a  central 
position  in  the  court,  where  one  can  look  down  the  broad  approach 
leading  from  the  bay,  Nature  spreads  before  the  beholder  two 
expanses  of  color,  the  deep  blue  of  salt  water  sparkling  in  the  sun, 
and  the  not  less  deep,  but  more  ethereal,  blue  of  the  California  sky. 
With  this  are  the  browns  and  greens  of  the  hills  beyond  the  bay, 
and,  nearer  at  hand,  the  vivid  verdure  of  lawns  and  trees  and 
shrubs.  All  these  the  designer  used  as  though  they  were  colors 
from  his  own  palette.  To  go  with  them  in  his  scheme  he  chose  for 
pillar  and  portico,  for  the  wall  spaces  behind,  for  arch  and  dome, 
for  the  decorations  and  for  material  of  the  sculptures,  such  hues 
that  the  whole  splendid  court  and  its  vistas  of  palaces  beyond 
blend  with  the  colors  of  sea  and  sky  and  of  green  living  things  in  a 
glorious  harmony. 

Such  a  view  of  the  heart  of  the  Exposition  at  its  best  compels 
recognition  of  Guerin's  skill  in  color.  It  needed  a  vivid  imagina- 
tion to  realize  the  possibilities  of  the  scene,  and  visualize  it.  It 
required  infinite  delicacy  and  a  fine  sense  of  the  absolute  Tightness 
of  shade  and  tint  to  produce  such  harmonious  beauty.  The  mere 
thought  of  it  is  a  lesson  in  art. 

The  decision  of  the  architects  to  develop  the  theme  of  an  Ori- 
ental walled  city,  and  the  natural  setting  of  the  site,  Mediterranean 
in  its  sea  and  sky,  led  Guerin  to  select  Oriental  colors.  Aiming  at 
simplicity,  he  decreed  that  not  more  than  eight  or  nine  colors 
should  be  found  upon  the  subdued  palette  from  which  he  would 
paint  the  Exposition.  Then  he  took  into  consideration  the  climate 
and  atmospheric  conditions  peculiar  to  San  Francisco.  Every 
phase  of  sky  and  sea  and  land,  every  shadow  upon  the  Marin  hills, 
across  the  bay,  was  noted  in  choosing  an  imitation  of  natural  trav- 
ertine for  the  key  color  of  the  Palaces. 

This  is  a  pale  pinkish-gray-buff,  which  may  be  called  old  ivory. 
It  is  not  garish,  as  a  dead  white  would  be,  especially  in  the  strong 
California  sunlight,  but  soft  and  restful  to  the  eye.  It  harmonizes 
with  the  other  colors  selected,  and,  most  important  of  all,  it  avoids 


40  THE  JEWEL  CITY 

a  certain  "new"  effect  which  pure  white  would  give,  and  which  is 
deadly  to  art. 

Paul  Deniville,  who  had  already  developed  a  successful  imita- 
tion of  travertine,  was  engaged  to  make  the  composition  to  be 
applied  over  the  exterior  walls.  This  is  a  reproduction  in  stucco 
of  the  travertine  marble  of  the  Roman  palaces  of  the  period  of 
Augustus.  This  marble  is  a  calcareous  formation  deposited  from 
the  waters  of  hot  springs,  usually  in  volcanic  regions,  and  is  com- 
mon in  the  hills  about  Rome.  It  often  contains  the  moulds  left  by 
leaves  and  other  materials  incorporated  in  the  deposit.  These 
account  for  the  corrugations  of  the  stone  when  it  is  cut.  In  Cali- 
fornia, as  in  other  regions  where  hot  springs  are  found,  travertine 
is  not  uncommon.  It  is  found  notably  in  the  volcanic  district  of 
Mono  County,  and  elsewhere,  sometimes  in  the  form  of  Mexican 
onyx,  which  is  only  a  translucent  variety  of  the  same  marble.  In 
its  reproduction  here  the  marble  has  been  imitated  even  to  the  nat- 
ural imperfections  which  roughened  the  Italian  stone.  In  the  con- 
cave surfaces  of  the  ornamentation  the  color  has  been  deepened, 
so  that  it  appears  sometimes  as  a  rich  reddish  brown.  All  this 
enhances  the  antique  effect,  making  the  palace  walls  and  columns 
still  more  like  those  of  the  old  Roman  construction. 

Besides  the  travertine  the  eight  other  colors  employed  are : 

1.  French   Green,  used  in  all  lattices,   flower  tubs,  curbing  of 
great  plats,  where  it  complements  the  green  of  the  grass,  in  the 
exterior  woodwork  and  some  of  the  smaller  doors. 

2.  Oxidized  Copper  Green,  a  peculiar  mottled  light  green.     All 
the  domes,  except  the  six  yellow  ones  in  the  Court  of  the  Universe, 
are  of  this  light  green.     It  forms  a  sharp  contrast  with  the  blue 
sky  and  a  pleasing  topping  to  the  travertine  walls. 

3.  Blue  Green,  found   in  the  ornamentation   of  the  travertine, 
and  in  the  darker  shades  at  the  bases  of  the  flag  poles.    These  first 
three  colors,  all  in  tones  of  green,  are  regarded  as  one  unit  in  the 
spectrum  of  nine  colors  allowed  by  Guerin. 

4.  Pinkish-Red-Gold,  used  in  the  flag  poles  and  lighting  stand- 
ards  only.     It  is   a  very  brilliant  and   striking  pigment,   and  is 
always  topped  with  gold. 

5.  Wall-Red,  used  in  three  tones.    They  are  found  in  the  back- 
grounds of  the  colonnades,  courts  and  niches,  on  the  tiled  roofs, 
and  in  the  statuary.     These  reds  run  from  terra-cotta  to  a  deep 
russet,  and  predominate  in  the  interiors  of  the  principal  courts. 

6.  Yellow-Golden-Orange,    largely   used   in   enriching   the   trav- 
ertine and  in  enhancing  shadow  effects.     It  is  found  in  the  archi- 
tectural mouldings  and  in  much  of  the  statuary.     The  following 
rule  was  adopted  in  regard  to  the  coloring  of  the  statuary:    That 
which  is  high  off  the  ground,  that  is,  the  figures  surmounting  the 
domes  and  spires,  is  of  golden  yellow,  while  that  close  to  the  eye 


A  TRIUMPH  OF  CO-OPERATION  41 

of  the  beholder  is  of  verde-antique,  a  rich  copper-green  streaked 
with  gray,  and  much  is  left  in  the  natural  travertine  tint. 

7.  Deep  Cerulean  Blue  and  Oriental  Blue,  verging  upon  green,  are         / 
used  in  the  ceilings  and  other  vaulted  recesses,  in  deep  shadows, 

in  coffers  and  in  the  background  or  ornamentation  in  which  trav- 
ertine rosettes  are  set  in  cerulean  blue  panels.  It  might  be  called 
electric  blue.  It  is  brilliant  and  at  the  same  time  in  harmony 
with  the  other  colors. 

8.  Gray,  very  similar  to  the  travertine. 

9.  Marble   Tint,   spread   over  the  travertine   in  places   with    a 
transparent   glaze. 

10.  Verde-Antique,  really  one  of  the  many  shades  of  green — a 
combination  of  the   copper-green  and  a  soft  gray,  and  therefore 
not  to  be  counted  as  one  of  the  nine  cardinal  colors.    It  simulates 
corroded  copper,  and  has  faint  yellow  and  black  limes. 

With  the  gamut  thus  restricted  by  the  taste  and  discrimination 
of  a  master,  the  decorators  and  artists  were  strictly  limited  to  the 
nine  colors  named.  No  one  might  use  other  than  cerulean  blue,  if 
he  employed  blue  at  all;  no  other  red  than  the  tone  popularly 
known  as  "Pompeiian"  has  been  admitted  in  the  scheme.  In  this 
red  the  admixture  of  brown  and  yellow  nullify  any  tendency 
towards  carmine  on  crimson.  The  French  and  the  copper  greens 
and  the  intermediate  shades  approved  by  Guerin  are  the  only 
greens  allowed. 

Here  is  seen  the  great  advantage  of  a  one-man  idea.  No  other 
exposition  was  ever  so  carefully  or  successfully  planned  in  this 
particular.  There  is  no  court  of  one  color  clashing  with  a  dome, 
palace  or  tower  of  conflicting  tone,  whether  near  by  or  at  a  dis- 
tance. All  is  in  harmony. 

Working  with  Guerin,  John  McLaren,  in  charge  of  the  land- 
scape gardening,  so  selected  the  flowers  which  border  the  paths 
and  fill  the  parterres  that  they  too  conform  to  the  color  scheme. 
Though  three  different  complete  floral  suits  are  to  be  seen  at  the 
Exposition  in  three  periods,  each  one  accords  with  the  hues  of 
wall  and  tower,  completing  in  harmony  the  effect  of  the  whole. 
The  pinkish  sand  spread  on  the  paths  and  avenues  to  harmonize 
with  other  ground  colors  was  not  always  tinted.  Some  one  had 
noticed  that  the  white  beach  sand  at  Santa  Cruz  turned  pink  when 
heated.  Seizing  upon  this  fact,  McLaren  and  Guerin  used  it  to 
give  a  final  touch  to  their  scheme  of  color.  They  drew  another 
lesson  from  the  washerwoman.  A  familiar  laundry  device  was 
used  to  give  sparkle  and  brilliance  to  the  waters  of  the  pools  and 
lagoons.  They  were  blued,  not  by  dumping  indigo  into  the  water, 
but  by  tinting  the  bottoms  with  blue  paint. 


V. 

THE  TOWER  OF  JEWELS 

Imposing  as  the  central  accent  of  the  Exposition's  architecture — 
Its  magic  glow  at  night — A  magnificent  Roman  arch — ''Jewels" 
of  the  Tower — An  historical  landmark — Inscriptions,  sculp- 
ture and  murals — Fountains  of  "Youth"  and  "El  Dorado" — An 
epitome  of  the  Exposition's  art. 

|HE  TOWER  OF  JEWELS,  Carrere  and  Hastings,  ar- 
chitects, is  the  central  structure  in  the  Exposition 
architecture.  (See  p.  47.)  It  plays  a  triple  role.  In 
architecture  it  is  the  center  on  which  all  the  other 
buildings  are  balanced.  In  relation  to  the  theme  of 
the  Exposition,  it  is  the  triumphal  gateway  to  the  commemorative 
celebration  of  an  event  the  history  of  which  it  summarizes  in  its 
sculpture,  painting  and  inscription.  Last  of  all,  it  is  an  epitome 
of  the  Exposition  art. 

Towering  above  everything  else,  it  is  at  once  the  culminating 
point  and  the  center  of  the  Exposition  scheme.  It  links  the  palaces 
of  the  central  group,  otherwise  divided  into  two  sections.  Upon 
it  rests  the  balance  of  Festival  Hall  and  the  Palace  of  Horticulture, 
of  the  courts,  the  gardens,  the  Palace  of  Machinery  and  the  Palace 
of  Fine  Arts.  It  finds  its  own  balancing  structure  in  the  Column  of 
Progress.  It  is  intended  to  be  the  first  thing  seen  from  afar,  the 
point  from  which  the  eye  travels  to  lesser  things  on  either  hand. 

At  night  the  Tower  remains  the  center  of  the  transformed  Expo- 
sition. Under  the  white  light  of  the  powerful  projectors,  details 
disappear,  the  structure  is  softened  into  a  form  almost  ghostly.  It 
becomes  ethereal.  All  its  daytime  glitter  gone,  it  seems  really  spir- 
itual. The  jewels  hung  over  the  upper  portion  do  not  flash  out  a 
diamond  brilliance,  as  they  might  have  been  expected  to  do;  rather 
they  spread  the  light  in  a  soft  film  about  the  Tower.  (P.  135.) 

From  close  at  hand,  the  arch  and  its  flanking  colonnades  are 
truly  imperial.  There  the  ornamentation  and  color  of  the  upper 
part  are  not  in  the  eye.  Up  to  the  cornice  above  the  arch,  the  mass 
of  the  Tower  is  magnificent  in  proportion  and  harmonious  in  line 
and  color.  It  almost  seems  that  the  builders  might  have  stopped 
there,  or  perhaps  have  finished  the  massive  block  of  the  arch  with 
a  triumphant  mass  of  sculpture. 

Studied  from  the  ground  underneath  the  Tower  and  around  it, 
the  arch  and  the  two  little  colonnaded  courts  in  the  wings  are  glor- 
iously free  and  spacious,  with  the  spaciousness  that  the  Exposition 
as  a  whole  reflects,  that  of  the  sea  and  sky  of  its  setting.  I  walked 


S 


o  ~ 
si  a 
*>  5 


THE  "JEWELS"  OF  THE  TOWER  45 

here  when  the  ocean  breeze,  fresh  from  winter  storms  at  sea,  was 
sweeping  through  them.  There  is  no  confinement,  no  sense  of 
imprisonment  from  the  boundless  depths  of  air  outside.  Some- 
thing which  the  architect  could  not  include  in  his  plans  has  come 
in  to  make  constant  this  increase  in  the  sense  of  freedom  and 
space.  The  openings  of  the  arches,  being  the  only  free  and  uncon- 
fined  passageways  through  the  south  facade  of  the  palace  group, 
provide  the  natural  draft  on  this  side  for  the  interior  courts.  The 
air  rushes  through  at  all  times,  even  when  no  breeze  is  stirring 
outside.  This  uncramped  movement  of  air  currents,  far  from 
being  unpleasant,  gives  the  same  sense  of  open  freedom  that  one 
gets  on  a  bold  headland,  where  the  ocean  winds  whip  the  flowers 
and  lay  the  grass  flat. 

From  the  court  behind  the  Tower  you  see  the  mansioned  hills 
of  San  Francisco  through  the  colonnades  like  panelled  strips  of 
painting;  and,  looking  northward,  the  long  spaces  over  the  bay  to 
the  great  Marin  hills  beyond. 

The  jewels  on  the  Tower  give  it  a  singularly  gay  and  lively 
touch  when  the  sun  is  bright  and  the  wind  blowing.  The  wind  is 
seldom  absent  around  the  top  of  so  lofty  a  structure,  and  there 
these  bits  of  glass  are  always  sparkling.  At  night  they  produce, 
under  the  strong  white  light  of  a  whole  battery  of  giant  reflectors 
hidden  on  other  buildings,  the  mystic  haze  that  shrouds  the  Tower. 
They  were  a  fine  idea  of  the  chief  of  illumination,  W.  D'A.  Ryan, 
giving  just  a  touch  of  brilliance  to  an  Exposition  otherwise  clothed 
in  soft  tones.  The  jewels  are  only  hard  glass,  fifty  thousand  of 
them  cut  in  Austria  for  the  purpose,  prismatic  in  form,  and  each 
backed  with  a  tiny  mirror.  Hung  free  to  swing  in  the  wind,  they 
sparkle  and  dance  as  they  catch  the  sun  from  different  angles. 

As  the  great  gate  to  the  Exposition,  the  Tower  becomes  histor- 
ical in  relation  to  the  event  celebrated  beyond  its  archway.  Its 
purpose,  from  this  point  of  view,  is  to  tell  the  entering  visitor 
briefly  of  the  milestones  along  the  way  of  time  up  to  the  digging  of 
the  Canal.  Its  enrichment  of  sculpture,  painting  and  inscription 
summarizes  the  story  of  Panama  and  of  the  Pacific  shore  north- 
ward from  the  Isthmus.  The  architect  has  expressed  in  its  upper 
decorations  something  of  the  feeling  of  Aztec  art.  The  four 
inscriptions  on  the  south  faces  of  the  arches  tell  how  Rodrigo  de 
Bastides  discovered  Panama  in  1501;  how  Balboa  first  saw  the 
Pacific  Ocean  in  1513;  how  the  United  States  began  to  dig  the  Canal 
in  1904,  and  opened  it  in  1915.  The  four  on  the  north  faces  epit- 
omize the  history  of  California,  thus  honored  as  the  state  that 
commemorates  the  opening  of  the  Canal.  They  speak  of  Cabrillo's 
discovery  of  California  in  1542,  of  the  founding  of  the  Mission  of 


46  THE  JEWEL  CITY 

San  Francisco  by  Moraga,  in  1776,  of  the  acquisition  of  California 
by  the  United  States,  1846,  and  its  admission  to  the  Union  in  1850. 

The  sculpture  carries  out  the  same  idea.  Pizarro  and  Gortez 
sit  their  horses  before  the  Tower,  splendid  figures  of  the  Spanish 
conquerors,  the  one  by  Charles  C.  Rumsey,  the  other  by  Charles 
Niehaus.  (P.  48.)  Above  the  entablature  of  the  supporting  col- 
umns are  repeated  around  the  outer  wall  of  the  arch,  Adventurer 
and  Priest,  Philosopher  and  Soldier,  types  of  the  men  who  won  the 
Americas,  all  done  by  John  Flanagan.  Above  the  cornice,  the 
mounted  figures  by  F.  M.  L.  Tonetti  are  those  of  the  Spanish  cava- 
liers, with  bannered  cross.  The  eagles  stand  for  the  Nation  that 
built  the  Canal.  Excellent  in  spirit  are  Flanagan's  figures  of  the 
four  types,  especially  that  of  the  strikingly  ascetic  Priest.  (P.  44.) 
Besides  their  symbolism,  the  statues  fulfill  a  useful  architectural 
purpose  in  relieving  what  would  otherwise  be  the  blankness  of  the 
wall.  But  the  same  cannot  be  as  truly  said  of  the  Armoured  Horse- 
men above.  Vigorous  as  they  are,  they  are  not  in  the  right  place. 
They  clutter  up  the  terrace  on  which  they  stand.  The  globe  on  the 
pinnacle,  with  its  band,  signifies  that  now  a  girdle  has  been  put 
around  the  earth. 

On  the  side,  walls  of  the  arch  under  the  Tower,  the  murals  by 
William  de  Leftwich  Dodge  tell  the  story  of  the  triumphant  achieve- 
ment which  the  Exposition  commemorates.  On  the  east,  the  cen- 
tral panel  pictures  Neptune  and  his  attendant  mermaid  leading  the 
fleets  of  the  world  through  the  Gateway  of  All  Nations.  (P.  53.) 
On  one  side  Labor,  with  its  machines,  draws  back  from  the  com- 
pleted task,  and,  on  the  other,  the  Intelligence  that  conceived  the 
work  and  the  Science  that  made  it  possible,  move  upward  and 
onward,  while  a  victorious  trumpeter  announces  the  triumph.  One 
figure,  with  covered  face,  flees  from  the  appeal  of  the  siren,  but 
whom  he  represents,  or  why  he  flees,  I  cannot  tell. 

In  the  smaller  panel  to  the  left,  Labor  is  crowned  and  all  who 
served  with  toil  are  acclaimed.  Its  companion  picture  on  the 
right  represents  Achievement.  The  Mind  that  conceived  the  work 
is  throned,  the  Sciences  stand  at  one  side,  while  a  figure  crouching 
before  the  bearer  of  rewards  points  to  Labor  as  equally  worthy. 

On  the  west  side  of  the  arch,  the  central  panel  portrays  the 
meeting  of  Atlantic  and  Pacific,  with  Labor  joining  the  hands  of 
the  nations  of  east  and  west.  In  the  panel  to  the  left,  enlightened 
Europe  discovers  the  new  land,  with  the  savage  sitting  on  the  ruins 
of  a  forgotten  civilization,  the  Aztec  once  more.  On  the  right 
America,  with  her  workmen  ready  to  pick  up  their  tools  and  begin, 
buys  the  Canal  from  France,  whose  labor  has  been  baffled. 

The  two  lovely  fountains  in  the  wings  of  the  Tower  draw  their 


THE  TOWER  OF  JEWELS,  Carrere  and  Hastings,  architects,  is  the  imposing  central 
feature  of  the  main  palace  group.  Before  it,  the  FOUNTAIN  OF  ENERGY, 
A.  Stirling  Calder,  .sculptor,  joyously  proclaims  the  union  of  the  Atlantic  and 
Pacific  bit  the  Panama  Canal.  The  Tower  is  435  feet  high.  Its  Arch  is  110  feet. 


(  P.  47  ) 


'CORTEZ,"  Charles  H.  Niehaus,  sculptor,  stands  before  the  Tower  of  Jewels, 
east  of  the  arch,  and  opposite  to  Rumsey's  companion  group,  "Pizarro." 
These  lordly  equestrian  statues  are  full  of  strength  and  movement,  and 
finely  typify  the  Spanish  conquerors  of  the  New  World. 

(  P.  48  ) 


FOUNTAINS  ILLUSTRATE  FAMOUS  LEGENDS  49 

inspiration  from  the  days  of  the  conquistadors.  Mrs.  Harry  Payne 
Whitney's  Fountain  of  El  Dorado  is  a  dramatic  representation  of 
the  Aztec  myth  of  The  Gilded  One,  which  the  followers  of  Gortez, 
in  their  greed  for  gold,  mistook  for  a  fact  instead  of  a  fable.  (P. 
54.)  The  Fountain  of  Youth  by  Edith  Woodman  Burroughs  finds 
its  justification  as  a  part  of  the  historical  significance  of  the 
Tower  in  the  legend  of  that  Fountain  of  Eternal  Youth  sought  by 
Ponce  de  Leon.  (P.  53.)  The  interpretation  of  these  sculptures  is 
set  forth  in  the  chapter  on  Fountains. 

The  Tower  of  Jewels  epitomizes  the  Exposition's  art.  The  glo- 
ries of  its  architecture,  color,  sculpture,  painting,  and  landscape 
gardening  all  find  an  expression  here.  In  architecture  it  reflects 
something  of  almost  all  of  the  orders  found  in  the  Exposition.  In 
the  main  it  is  Italian  Renaissance,  which  means  that  the  basic  char- 
acters are  Roman  and  Greek,  enriched  with  borrowings  from  the 
Orient  and  Byzantium.  In  column  and  capital,  in  wall  and  arch 
and  vaulted  ceiling,  it  represents  the  architecture  of  the  whole 
Exposition,  and  so  harmoniously  as  to  form  a  singular  testimony 
to  the  unity  of  the  palace  scheme. 

In  color,  from  the  dull  soft  gold  of  the  columns  of  the  colon- 
nades on  either  wing,  through  the  vivid  hues  of  Dodge's  allegorical 
murals  under  the  arch,  and  the  golden  orange  and  deep  cerulean 
blue  in  the  vaulted  recesses,  up  to  the  striking  green  of  columns  on 
the  upper  rounds  of  the  Tower,  the  structure  summarizes  all  the 
pigments  which  the  master  of  color,  Guerin,  has  laid  upon  the 
Exposition. 

In  sculpture,  the  conquistadors  in  front,  the  hooded  Francis- 
cans and  the  Spanish  warriors  who  stand  around  the  cornice,  the 
corner  figures  on  the  Tower  above,  and,  finally,  the  great  globe  on 
top,  repeat  in  varied  form  the  themes  of  palace,  court,  facade,  and 
entrance.  It  has  its  own  fountains  in  its  own  little  courts. 

Then,  as  a  final  touch  to  complete  this  epitome  of  Exposition 
art,  the  dark  cypresses  set  in  the  niches  on  either  side  of  the  open- 
ings of  the  arch,  gracefully  express  the  debt  the  whole  palace 
scheme  owes  to  its  landscape  engineer.  In  the  original  models  of 
the  Tower,  these  niches  were  designed  for  vases.  It  was  a  happy 
thought  that  placed  the  cypresses  there  instead. 


VI. 

THE  COURT  OF  THE  UNIVERSE 

Most  important  of  the  three  great  courts  of  the  "Walled  City" — A 
meeting-place  of  East  and  West — Roman  in  its  architecture 
and  atmosphere,  suggesting  the  vast  Piazza  of  St.  Peter's — Tri- 
umphal Arches  of  the  Nations — Their  types  of  the  great  races 
of  Orient  and  Occident — Fine  mural  paintings  by  Simmons 
and  Du  Mond — Fountains  of  the  Rising  and  the  Setting  Sun 
— Aitken's  "Elements" — The  "Column  of  Progress." 

HE  court  is  the  key  to  the  scheme  of  the  palace  group 
of  the  Exposition.  Leaving  out  the  state  and  foreign 
quarters,  and  the  other  suburbs,  and  omitting  the  Fine 
Arts  Palace  and  Machinery  Hall,  which,  from  a  purely 
architectural  standpoint,  are  merely  balanced  orna- 
ments needed  to  complete  the  whole,  the  Exposition  city  is  a  pal- 
ace of  blank  walls  inclosing  three  superb  courts. 

The  court  is  an  essential  element  of  the  Oriental  architecture 
of  the  Mediterranean,  which  provided  the  theme  of  the  Exposition 
plan.  There,  however,  it  is  the  patio,  the  place  of  the  siesta,  the 
playground  of  the  children.  Here  the  courts  have  been  made  the 
chief  architectural  feature  of  the  group.  There  the  courts  are  pri- 
vate. Here  they  are  merely  hidden. 

The  central  court  at  the  Exposition,  the  largest  and  the  most 
splendid,  is  the  COURT  OF  THE  UNIVERSE.  (See  p.  63.)  It  is 
the  most  important,  too,  in  the  story  which  its  sculptures  tell,  and 
in  its  relation  to  the  purpose  of  the  Exposition.  Whether  it  is  also 
the  most  beautiful  is  a  matter  about  which  opinions  differ.  Many 
persons  admire  Mullgardt's  romantic  Court  of  Ages  beyond  any- 
thing else,  while  others  are  in  love  with  the  calm  Court  of  Seasons. 
Paradoxically,  the  Court  of  the  Universe  suffers  from  its  very  mag- 
nificence. It  is  so  vast  that  the  beholder  is  slow  to  feel  an  intimate 
relation  with  it.  The  same  is  true  of  some  of  the  noblest  sights  in 
nature.  First  seen,  there  is  something  disappointing  in  the  Grand 
Canyon.  There  is  too  much  in  the  view  to  be  comprehended  until 
after  many  days.  In  this  court,  the  visitor  is  pleased  with  its  splen- 
did proportions,  its  noble  arches,  its  rich  sculpture,  the  wonderful 
blending  of  its  colors  with  those  of  sea  and  sky;  but  the  pleasure 
at  first  is  of  the  intellect  rather  than  of  the  emotions.  Like  other 
big  and  really  fine  things,  it  grows  on  one.  The  sweep  of  its  colon- 
nades is  majestic,  the  arches  are  noble  monuments,  the  Column  of 
Progress  is  inspiring,  the  fountains  show  a  graceful  play  of  water, 


A  ROMAN  COURT  51 

the  sculpture  is  big,  strong,  and  significant;  the  flowers  of  the 
sunken  garden  are  a  glory  long  to  be  remembered. 

The  Court  of  the  Universe  is  Roman  in  architecture,  treated  in 
the  style  of  the  Italian  Renaissance.  Its  commanding  features,  the 
Triumphal  Arches  and  the  magnificent  flanking  colonnades  are 
most  Roman  in  spirit,  their  Italian  decoration  appearing  in  the 
medallions  and  spandrels  of  the  arches,  the  garlands  hung  along 
the  entablature  of  the  colonnade,  and  the  interior  adornment  of 
the  vaulted  corridors.  The  columns,  including  the  huge  Sienna 
shafts  before  the  arches  and  the  Tower  of  Jewels,  are  Roman 
Corinthian,  with  opulent  capitals,  though  not  too  florid  when  used 
in  a  work  of  such  vast  extent.  Most  Roman  of  all  is  the  great 
Column  of  Progress,  at  the  north  end  of  the  court. 

McKim,  Mead  and  White  of  New  York,  the  architects,  had  the 
Piazza  of  St.  Peter's  at  Rome  in  mind  when  they  designed  this 
great  sweep  of  colonnades.  There,  too,  they  borrowed  from  the 
circle  of  saints  the  idea  of  the  repeated  Star  figure.  The  colon- 
nade not  only  encloses  the  court  but  is  produced  along  the  sides 
of  the  Palaces  of  Agriculture  and  Transportation  to  form  two  cor- 
ridors of  almost  Egyptian  vastness.  These  two  features,  the  arches 
and  the  colonnades,  here  at  the  center  of  the  palace  group,  strike 
the  Exposition's  note  of  breadth.  Their  decoration  is  the  key  to 
the  festal  richness  of  all  the  adornment. 

By  day  the  four  entrances  to  the  court  are  its  finest  features. 
Nowhere  in  the  whole  Exposition  is  the  air  more  gloriously  free 
than  around  the  lofty  arch  and  colonnades  of  the  Tower  of  Jewels. 
Nowhere  is  the  sunlight  purer,  or  the  sky  bluer,  than  over  the  broad 
approach  leading  up  from  the  glancing  waters  of  the  bay,  past  the 
aspiring  Column  of  Progress,  and  between  the  noble  colon- 
nades of  the  palaces  on  either  hand.  From  within  the  court,  or 
from  the  approaches  on  east  and  west,  the  triumphal  ARCHES  OF 
THE  NATIONS  impress  one  with  the  magnificence  of  their  pro- 
portions, their  decoration,  and  their  color.  There  the  Oriental 
hues  of  the  Exposition  are  carried  upward,  to  meet  and  blend  with 
the  sky,  and  magically  to  make  the  heavens  above  them  bluer  than 
they  really  are.  (See  frontispiece.) 

There  is  little  Oriental  about  the  court,  except  the  color  and  the 
group  of  the  Nations  of  the  East  above  the  Arch  of  the  Rising  Sun. 
The  colonnade  is  Corinthian,  all  the  arches  are  Roman,  the  sculp- 
ture is  classic,  the  paintings  are  romantic,  mystic, — the  Court  of 
the  Universe  may  properly  hold  all  things.  It  is  thus  an  arena  for 
the  expression  of  universal  themes,  on  which  the  nations  of  the 
East  and  West  look  down  from  their  lofty  Arches  of  Triumph. 
With  this  key,  the  symbolism  of  the  sculpture  in  the  court  is  easy. 


52  THE  JEWEL  CITY 

The  Stars,  by  Calder,  stand  in  circle  above  the  colonnade.  The 
frieze  below  the  cornices  of  the  pavilion  towers  represents  the 
SIGNS  OF  THE  ZODIAC,  by  Herman  A.  MacNeil. 

The  graceful  figures  atop  the  two  fountain  columns  in  the  oval 
sunken  garden  are  the  RISING  and  the  SETTING  SUN,  by  Adolph 
A.  Weinmann.  (P.  69.)  In  the  east  the  Sun,  in  the  strength  of 
morning,  the  masculine  spirit  of  "going  forth,"  has  spread  his 
wings  for  flight;  in  the  west,  the  luminary,  now  essentially  fem- 
inine, as  the  brooding  spirit  of  evening,  is  just  alighting.  The 
sculptural  adornment  of  the  shafts  is  detailed  in  the  chapter  on 
Fountains. 

The  titanic  ELEMENTS  slumber  on  the  balustrade,  one  on 
either  hand  of  the  stairways  leading  dowrn  on  north  and  south  into 
the  sunken  area.  (P.  64.)  On  one  side,  on  the  north,  the  Elemental 
Power  holds  in  check  the  Dragon  of  FIRE.  The  whole  figure 
expresses  the  primitive  terror  of  Fire,  a  fear  that  still  lives  in  the 
beasts.  On  the  other  side  lies  WATER,  the  roaring  Ocean,  kelp  in 
his  hair,  Neptune's  trident  in  his  hand,  by  him  one  of  his  fabled 
monsters.  On  the  south,  eagles  of  the  AIR  hover  close  to  the  winged 
figure  of  the  woman,  who  holds  up  the  evening  star  and  breathes 
gently  down  upon  her  people.  Icarus,  who  was  the  first  airman, 
appears  upon  her  wings.  Opposite,  rests  EARTH,  unconscious 
that  her  sons  struggle  with  her.  These  remarkably  expressive  fig- 
ures are  the  work  of  Robert  Aitken. 

The  youthful  groups  by  Paul  Manship  upon  the  extremities  of 
the  balustrade,  on  either  hand  of  the  eastern  and  western  stair- 
ways, represent  MUSIC  and  POETRY,  Music  by  the  dance,  Poetry 
by  the  written  scroll.  The  sculpture  is  archaic  in  type, — an  imi- 
tation of  Greek  imitations  of  still  earlier  models. 

The  colossal  groups  on  the  ARCHES  OF  THE  NATIONS  sym- 
bolize the  meeting  of  the  peoples  of  the  East  and  West,  brought 
together  by  the  Panama  Canal,  and  here  uniting  to  celebrate  its 
completion.  In  the  group  of  the  NATIONS  OF  THE  EAST  the  ele- 
phant bears  the  Indian  prince,  and  within  the  howdah,  the  Spirit 
of  the  East,  mystic  and  hidden.  (P.  63.)  On  the  right  is  the  Bud- 
dhist lama  from  Tibet,  representative  of  that  third  of  the  human 
race  which  finds  hope  of  Nirvana  in  countless  repetitions  of  the 
sacred  formula,  "Om  Mani  Padme  Hum."  Next  is  the  Moham- 
medan, with  the  crescent  of  Islam;  then  a  negro  slave,  and  then  a 
Mongolian  warrior,  the  ancient  inhabitant  of  the  sandy  waste,  a 
type  of  those  Tartar  hordes  which  swept  Asia  under  Tamerlane 
and  Genghis  Khan.  On  the  left  of  the  Indian  elephant  are  an  Arab 
falconer,  an  Egyptian  mounted  on  a  camel  and  bearing  a  Moslem 
standard,  then  a  negro  slave  bearing  a  basket  of  fruit  on  his  head, 


UNDER  THE  ARCH  OF  THE  TOWER  OF  JEWELS.  The  panel  above  the  Corinthian 
columns  is  "The  Gateway  of  All  Nations,"  one  of  Dodge's  gorgeous  murals  cele- 
brating the  Canal.  The  girlish  central  figure  of  the  FOUNTAIN  OF  YOUTH, 
Edith  Woodman  Burroughs,  sculptor,  is  seen  through  the  doorway. 

(  P.  5;}  ) 


p 


"WESTWARD  THE  STAR  OF  EMPIRE!"  55 

and  a  sheik  from  the  deserts  of  Arabia,  all  representing  the  Moham- 
medans of  the  nearer  East.  Thus  are  figured  types  of  the  great 
Oriental  races,  the  Hindoo,  the  Tartar,  which  includes  the  Turk 
and  the  northern  Chinese;  the  Chinese  stock  of  the  south,  the  Arab, 
and  the  Egyptian.  Only  the  Persian  is  omitted,  and  possibly  the 
Japanese,  unless  that,  too,  is  Mongol. 

On  the  Arch  of  the  Setting  Sun,  the  prairie  schooner  is  the  cen- 
ter of  the  group  of  the  NATIONS  OF  THE  WEST,  on  the  top  a  fig- 
ure of  Enterprise,  the  Spirit  of  the  West.  (P.  59.)  On  either  side 
of  her  is  a  boy.  These  are  the  Heroes  of  Tomorrow.  Between  the 
oxen  rides  the  Mother  of  Tomorrow.  Beside  the  ox  at  the  right  is 
the  Italian  immigrant,  behind  him  the  Anglo-American,  then  the 
squaw  with  her  papoose,  and  the  horse  Indian  of  the  plains.  By  the 
ox  at  the  left  is  the  Teuton  pioneer,  behind  him  the  Spanish  con- 
quistador, next,  the  woods  Indian  of  Alaska,  and  lastly  the  French 
Canadian. 

Three  sculptors  collaborated  in  the  modeling  of  these  groups, 
A.  Stirling  Calder,  Leo  Lentelli,  and  Frederick  G.  R.  Roth. 

Of  the  MURAL  PAINTINGS  under  the  Arches  of  the  Nations, 
the  two  by  Edward  Simmons  in  the  arch  on  the  east  are  an  allegory 
of  the  movement  of  the  peoples  across  the  Atlantic,  while  those  by 
Frank  Vincent  Du  Mond  in  the  western  arch  picture  in  realistic  fig- 
ures the  westward  march  of  civilization  to  the  Pacific.  Histor- 
ically, the  picture  on  the  southern  wall  of  the  Arch  of  the  Nations 
of  the  East  comes  first.  Here  Simmons  has  represented  the  west- 
ward movement  from  the  Old  World  through  natural  emigration, 
war,  conquest,  commerce  and  religion,  personifying  these  in  types 
of  the  people  who  have  crossed  the  Atlantic.  On  the  strand, 
beyond  which  appear  types  of  the  navies  of  the  ages,  are  the  fol- 
lowing: an  inhabitant  of  the  fabled  Atlantis,  here  conceived  as  a 
savage;  the  Greek  warrior,  perhaps  one  of  those  who  fared  with 
Ulysses  over  the  sea  to  the  west;  the  adventurer  and  explorer,  por- 
trayed as  Columbus;  the  colonist,  Sir  Walter  Raleigh;  the  mission- 
ary, in  garb  of  a  priest;  the  artist,  and  the  artisan.  All  are  called 
onward  by  the  trumpet  of  the  Spirit  of  Adventure,  to  found  new 
families  and  new  nations,  symbolized  by  the  vision  of  heraldic 
shields.  Behind  them  stands  a  veiled  figure,  the  Future  listening 
to  the  Past.  The  long  period  in  which  this  movement  has  been  in 
progress  is  expressed  by  the  dress  of  the  travellers. 

This  might  be  called  the  Material  Movement  to  the  West,  for  the 
picture  opposite  depicts  the  Ideals  of  that  progress.  Hope  leads 
the  way,  though  some  of  the  Hopes,  shown  as  bubbles,  were  but 
Illusions.  Then  follow  Adventure,  Art,  Imagination,  Truth,  Reli- 
gion, and  the  spirits  of  domestic  life.  Simmons'  work  is  charac- 


56  THE  JEWEL  CITY 

terized  by  grace  and  delicacy.  The  pictures  are  pleasing  as  form 
and  color  alone,  but  without  titles  the  allegories  are  too  difficult 
for  people  unaccustomed  to  interpreting  this  kind  of  art. 

Du  Mond's  two  murals  in  the  western  arch  are  easier.  They 
make  a  continuous  story.  The  first  chapter,  on  the  north  side,  pic- 
tures the  emigrant  train,  led  by  the  Spirit  of  Adventure,  leaving 
for  the  West,  while  the  second  shows  the  pioneers  reaching  the 
shores  of  the  Pacific  and  welcomed  by  California.  To  express  the 
many-sided  development  of  the  West,  Du  Mond  has  portrayed  indi- 
viduals as  the  types  of  the  pioneers.  Here  are  Junipero  Serra,  the 
priest;  Anza,  the  Spanish  captain  who  first  trod  the  shores  of  San 
Francisco  Bay;  Joseph  Le  Conte,  the  scientist;  Bret  Harte,  the 
author;  William  Keith,  the  artist;  and  Starr  King,  the  divine.  The 
energy  of  these  men  has  actually  outstripped  the  Spirit  of  Adven- 
ture. Du  Mond's  story  parallels  in  a  way  that  pictured  by  Simmons. 
Color  and  composition  are  both  exceedingly  grateful  to  the  eye. 

The  COLUMN  OF  PROGRESS,  outside  the  court,  commands 
the  entire  north  front  of  the  Exposition,  as  the  Tower  of  Jewels 
does  the  southern.  (P.  57.)  Symmes  Richardson,  the  architect, 
drew  his  inspiration  from  Trajan's  Column  at  Rome,  an  inspira- 
tion so  finely  bodied  forth  by  the  designer  and  the  two  sculptors 
who  worked  with  him,  MacNeil  and  Konti,  that  this  shaft  stands 
as  one  of  the  most  satisfying  creations  on  the  Exposition  grounds. 
Its  significance  completes  the  symbolism  of  the  Exposition  sculp- 
ture and  architecture,  as  the  joyous  Fountain  of  Energy  at  the 
other  end  of  the  north-and-south  axis  begins  it.  That  fountain 
celebrates  the  completion  of  the  Canal.  The  Tower  of  Jewels  with 
its  sculpture  tells  the  historical  story  of  the  conquest  of  the  western 
seas  and  their  shores.  The  Court  of  the  Universe  is  the  meeting- 
place  of  the  Nations,  come  to  commemorate  the  joining  of  East 
and  West.  From  this  Court,  a  splendid  avenue  leads  down  to  the 
border  of  the  Western  Ocean,  where  stands  the  Column  of  Prog- 
ress, beyond  the  Exposition.  Both  in  its  position  and  in  its  sculp- 
ture the  column  signifies  that,  this  celebration  over,  human  en- 
deavor stands  ready  to  go  on  to  still  vaster  enterprises  on  behalf 
of  mankind. 

The  figure  atop  this  Column  is  the  ADVENTUROUS  BOWMAN, 
past  human  achievement  behind  him,  seeking  a  new  emprise  in 
the  West,  whither  he  has  loosed  his  arrow.  At  his  back  is  a  figure 
of  Humanity,  signifying  the  support  of  mankind.  By  his  side  is 
the  woman,  ready  to  crown  his  success.  (P.  58.)  The  question 
has  often  been  asked,  why  there  is  no  string  to  the  archer's  bow. 
The  sculptor  properly  omitted  it,  for,  at  the  moment  the  arrow 
leaves  the  bow,  the  cord  is  vibrating  far  too  strongly  to  Be  visible. 


'THE  ADVENTUROUS  BOWMAN,"  a  symbol  of  the  never-ending 
quest  of  new  adventure.  Supported  by  the  frieze  of  the  "BURDEN 
BEARERS,"  it  tops  the  splendid  Column  of  Progress.  Both  sculp- 
tures are  by  Herman  A.  MacNeil. 

(  P.  58  ) 


ARCH  OF  THE  SETTING  SUN,  in  the  Court  of  the  Universe,  bears  an  Occidental 
group,  the  NATIONS  OF  THE  WEST,  composed  of  American  Indian  and  Pioneer 
types,  gathered  around  the  PRAIRIE  SCHOONER,  and  accompanied  by  the 
MOTHER  OF  TOMORROW  and  the  SPIRIT  OF  ENTERPRISE.  This  huge  sculp- 
ture, like  the  "Rations  of  the  East,"  is  the  joint  work  of  A.  Stirling  Calder,  Leo 
Lentelli  and  F.  G.  R.  Roth. 

(  P.  59  ) 


FRIEZE  AT  BASE  OF  THE  COLUMN  OF  PROGRESS.  These  are  two  of  the 
four  panels  by  Isidor  Konti  which  represent  striving  humanity,  the  founda- 
tion of  all  progress. 


(  P.  GO  ) 


A  COURT  OF  UNIVERSAL  THEMES  61 

The  cylindrical  frieze  below  the  Bowman  represents  the  Bur- 
den Bearers.  This,  with  the  Bowman,  is  the  work  of  H.  A.  Mac- 
Neil.  The  spiral  of  ships  ascending  the  shaft  symbolizes  the 
upward  course  of  man's  progress.  Around  the  base  is  the  frieze 
by  Isidor  Konti,  on  three  sides  striving  human  figures,  on  the 
fourth  celestial  trumpeters  announcing  victory.  The  whole  sig- 
nifies man's  progress  through  effort.  (P.  60.) 

Yet  the  visitor  must  not  look  for  a  story  in  all  the  sculpture 
here  or  elsewhere.  Some,  of  this  art  is  merely  decorative,  fulfill- 
ing purposes  of  harmony  or  completeness  in  the  general  mass.  The 
winged  figures  by  Leo  Lentelli  on  the  columns  before  the  Arches 
of  the  Nations  are  simply  ornaments,  relieving,  with  their  shafts, 
what  would  otherwise  be  too  sheer  a  wall  in  the  structure.  They 
may  be  angels  or  they  may  be  genii.  Decorative,  also,  are  the 
sculptured  medallions  between  these  columns,  and  the  Pegasi 
on  the  spandrels  of  the  arch,  the  medallions  done  by  Calder,  the 
Pegasi  by  Roth. 

The  caryatids  in  pairs  of  male  and  female  surmounting  the  bal- 
ustrade of  the  sunken  garden  are  merely  lampbearers.  The  spout- 
ing monsters  in  the  fountain  pools  are  but  ornamental,  and  so  are 
the  figures  in  relief  under  the  basins.  Those  at  the  base  of  the 
shafts  are  described  in  detail  in  the  chapter  on  Fountains.  In  the 
decoration  of  the  entablature  of  the  colonnade,  the  skull  of  the  ox 
repeated  between  the  garlands  recalls  the  vicissitudes  of  the 
pioneers  in  their  long  march  across  the  continent. 

The  Court  of  the  Universe,  this  huge  Piazza  of  the  Nations,  is 
thus  all-inclusive.    Within  its  vast  oval  is  room  for  every  theme. 
From  it  lead  the  ways  to  all  the  Exposition.    In  spirit  it  is  as  cos- 
mopolitan as  the  Forum  under  the  Caesars.    Its  art  revives  for  us 
"The  glory  that  was  Greece, 
The  grandeur  that  was  Rome." 


INSCRIPTIONS  IN  COURT  OF  THE  UNIVERSE 

I.    ARCH  OF  THE  RISING  SUN,  east  side  of  the  Court. 

(a)  Panel  at  center  of  attic,  west  side  of  the  Arch,  facing  the  Court: 
THE  MOON   SINKS  YONDER  IN  THE  WEST  WHILE  IN  THE 

EAST  THE  GLORIOUS  SUN  BEHIND  THE  DAWN  APPEARS. 
THUS  RISE  AND  SET  IN  CONSTANT  CHANGE  THOSE  SHINING 
ORBS  AND  REGULATE  THE  VERY  LIFE  OF  THIS  OUR  WORLD. 
— Kalidasa,  India. 

(b)  Small  panel  at  right  of  center,  facing  the  Court: 

OUR    EYES    AND    HEARTS    UPLIFTED    SEEM    TO    GAZE    ON 
HEAVEN'S   RADIANCE.— Hitomaro,  Japan. 

(c)  Small  panel  at  left  of  center,  facing  the  Court: 

THEY  WHO  KNOW  THE  TRUTH  ARE  NOT  EQUAL  TO  THOSE 
WHO  LOVE  IT. — Confucius,  China. 


62  THE  JEWEL  CITY 


INSCRIPTIONS  IN  COURT  OF  THE  UNIVERSE 

Continued 


(d)  Panel  at  center  of  attic,  east  side  of  the  Arch: 

THE  BALMY  AIR  DIFFUSES  HEALTH  AND  FRAGRANCE.  SO 
TEMPERED  IS  THE  GENIAL  GLOW  THAT  WE  KNOW  NEITHER 
HEAT  NOR  COLD.  TULIPS  AND  HYACINTHS  ABOUND.  FOS- 
TERED BY  A  DELICIOUS  CLIME  THE  EARTH  BLOOMS  LIKE  A 
GARDEN.— Firdausi,  Persia. 

(e)  Small  panel  at  right  of  center: 

A  WISE  MAN  TEACHES  BE  NOT  ANGRY.  FROM  UN- 
TRODDEN WAYS  TURN  ASIDE.— Phra  Ruang,  Siam. 

(f)  Small  panel  at  left  of  center: 

HE  THAT  HONORS  NOT  HIMSELF  LACKS  HONOR  WHERE- 
SOE'ER  HE  GOES.— Zuhayr,  Arabia. 

II.    ARCH  OF  THE  SETTING  SUN,  west  side  of  the  Court. 

(a)  Panel  at  center  of  attic,  east  side  of  the  Arch,  facing  the  Court: 
FACING   WEST    FROM   CALIFORNIA'S    SHORES— INQUIRING 

TIRELESS  SEEKING  WHAT  IS  YET  UNFOUND  — I  A  CHILD 
VERY  OLD  OVER  WAVES  TOWARD  THE  HOUSE  OF  MATER- 
NITY THE  LAND  OF  MIGRATIONS  LOOK  AFAR— LOOK  OFF 
THE  SHORES  OF  MY  WESTERN  SEA  THE  CIRCLE  ALMOST 
CIRCLED. — Whitman,  America. 

(b)  Small  panel  at  right  of  center: 

TRUTH  —  WITNESS  OF  THE  PAST  COUNCILLOR  OF  THE 
PRESENT  GUIDE  OF  THE  FUTURE.— Cervantes,  Spain. 

(c)  Small  panel  at  left  of  center: 

IN  NATURE'S  INFINITE  BOOK  OF  SECRECY  A  LITTLE  I 
CAN  READ. — Shakespeare,  England. 

(d)  Panel  at  center  of  attic,  west  side  of  the  Arch: 

IT  IS  ABSOLUTELY  INDISPENSABLE  FOR  THE  UNITED 
STATES  TO  EFFECT  A  PASSAGE  FROM  THE  MEXICAN  GULF 
TO  THE  PACIFIC  OCEAN  AND  I  AM  CERTAIN  THAT  THEY 
WILL  DO  IT— WOULD  THAT  I  MIGHT  LIVE  TO  SEE  IT  BUT  I 
SHALL  NOT.— Goethe,  Germany. 

(e)  Small  panel  at  right  of  center: 

THE  UNIVERSE  — AN  INFINITE  SPHERE  THE  CENTER 
EVERYWHERE  THE  CIRCUMFERENCE  NOWHERE.— Pascal, 
France. 

(f )  Small  panel  at  left  of  center : 

THE  WORLD  IS  IN  ITS  MOST  EXCELLENT  STATE  WHEN 
JUSTICE  IS  SUPREME.— Dante,  Italy. 


'EARTH"  and  "FIRE"  are  two  of  Robert  Aitken's  heroic  figures  of  the  Elements 
in  the  Court  of  the  Universe:  Earth  sleeping,  unconscious  that  her  sons 
struggle  with  her;  Fire,  with  the  dragon  of  flames. 


(  P.  64  ) 


VII. 

THE  COURT  OF  THE  AGES 
(Officially  called  "The  Court  of  Abundance.") 

An  artist's  dream  in  romantic  Orientalism — Mullgardt's  own  title 
for  it — His  great  "Tower  of  the  Ages" — Mullgardt  interprets 
his  architectural  masterpiece — Brangwyn's  splendid  murals, 
"Earth,"  "Air,"  "Fire"  and  "Water"— The  "Fountain  of  Earth," 
by  Robert  Aitken,  realism  set  amidst  the  romantic. 

HE  Court  of  the  Universe  is  not  Oriental,  the  COURT  OF 
THE  AGES  is.  Not  in  architecture,  but  in  feeling,  in 
the  atmosphere  with  which  the  architect  has  invested 
it,  this  court  brings  to  mind  those  brilliant  lands  of  the 
Mediterranean  touched  by  the  East  through  the  Moors. 
You  pass  under  its  arcades  and  walk  out  into  a  region  of  the  Sun, 
warm,  bright,  dazzling.  The  architect,  Louis  Christian  Mullgardt, 
has  caught  the  feeling  of  the  South, — not  the  rank,  jungle  South 
of  the  tropics;  nor  the  mild,  rich  South  of  our  own  Gulf  states;  but 
the  hard,  brilliant,  arid  South  of  the  desert.  This  court  expresses 
Arizona,  New  Mexico,  Spain,  Algiers, — lands  of  the  Sun.  The  very 
flowers  of  its  first  gardens  were  desert  blooms,  brilliant  in  hue, 
on  leafless  stalks.  There  are  orange  trees,  but  they,  also,  are 
trees  of  the  Sun,  smooth  of  leaf,  to  retain  moisture. 

It  is  a  court,  too,  of  romance.  It  might  be  a  garden  of  Allah, 
with  a  plaintive  Arab  flute  singing,  among  the  orange  trees,  of  the 
wars  and  the  hot  passions  of  the  desert.  It  might  be  a  court  in 
Seville  or  Granada,  with  guitars  tinkling  and  lace  gleaming  among 
the  cool  arcades.  It  is  a  place  for  dreams. 

The  architecture  has  been  called  Spanish  Gothic,  but,  accord- 
ing to  the  architect,  it  "has  not  been  accredited  to  any  established 
style."  We  may  well  be  content  to  call  it  simply  Mullgardt.  The 
court  is  an  artist's  dream,  rather  than  a  formal  study  in  historic 
architecture;  and  it  is  the  more  interesting,  as  it  is  the  more  orig- 
inal, for  that.  Except  for  the  central  fountain,  which,  fine  though 
it  is  as  a  sculptured  story,  is  out  of  harmony  with  the  filigreed 
arcades  around  it,  all  the  sculpture  in  the  court  is,  in  feeling,  an 
intimate  part  of  the  romantic  architecture.  This  portion  of  the 
art  of  the  court  is  best  considered  as  decoration,  finding  its  justifi- 
cation in  the  beauty  it  imparts  to  the  whole.  It  has  genuine  mean- 
ing, but  what  that  is  remains  inscrutable  so  long  as  the  court  is 
called  that  of  Abundance. 

Mullgardt  called  his  creation  the  "Court  of  the  Ages."  He  was 
overruled  because  the  officials  deemed  the  name  not  in  accord 


66  THE  JEWEL  CITY 

with  the  contemporaneous  spirit  of  the  Exposition.  They  called  it 
the  "Court  of  Abundance."  In  spite  of  the  name,  however,  it  is 
not  the  Court  of  Abundance.  Mullgardt's  title  gives  a  key  to  the 
cipher  of  the  statues.  Read  by  it,  the  groups  on  the  altar  of  the 
Tower  become  three  successive  Ages  of  Civilization.  (See  p.  70.) 

TOWER  OF  THE  AGES.— This  is  the  most  admired  of  all  the 
Exposition  towers,  and  with  reason.  The  originality,  strength  and 
beauty  of  its  design  set  it  above  anything  else  of  the  sort  yet  seen 
in  America;  and  the  symbolism  of  its  sculptures,  which  are  the 
work  of  Chester  Beach,  is  of  almost  equal  interest  with  the  tower 
itself.  At  the  base,  on  the  gable  above  the  arch,  rude  of  face  and 
form,  with  beasts  low  in  the  scale,  are  the  people  of  the  Stone  Age. 
Above  them  is  a  mediaeval  group,  the  Crusader,  the  Priest,  the  Peas- 
ant Soldier  armed  with  a  cross-bow,  with  similar  figures  on  the 
side  altars.  Enthroned  over  all,  with  a  crown  on  her  brow,  is  Mod- 
ern Civilization,  expressed  as  Intelligence.  At  her  feet  are  two 
children,  one  with  an  open  book,  symbolizing  Learning;  the  other, 
a  boy  with  a  part  of  a  machine,  representing  Industry.  The  sup- 
porting figures  on  the  sides  are  the  Man  and  Woman  of  the  Present, 
sprung  from  the  earlier  types.  The  delicate  finials  rising  from 
the  summit  of  the  tower  express  Aspiration. 

The  two  shafts  at  the  head  of  the  court,  each  surmounted  by  a 
huntress  with  bended  bow,  symbolize  Earth  and  Air.  Originally 
they  were  intended  as  finials  to  the  double  cascade  which  was  to 
have  swept  down  to  the  court  from  the  Altar  of  the  Ages  on  the 
tower.  The  cascade  was  not  built,  much  to  the  benefit  of  the  beauty 
of  the  court,  but  the  ornaments  were  suffered  to  remain.  The  giddy 
females  who  support  each  shaft  are  sufficiently  romantic  to  be  in 
keeping  with  the  decoration  of  the  court. 

The  three  figures  repeated  around  the  top  of  the  arcade  are  of 
a  hunter  dragging  a  deer,  a  woman  with  her  offspring  on  her 
shoulder,  and  a  primitive  man  feeding  a  pelican,  all  so  happily 
expressed  that  they  are  an  intimate  part  of  the  arcade  on  which 
they  stand.  They  seem  almost  to  have  grown  from  their  supports. 
These  figures  alone,  unless  we  add  the  florid  ladies  of  the  orna- 
mental shafts,  with  the  rich  filigree  of  the  arcades  and  the  tower, 
are  all  that  express  in  any  way  the  idea  of  Abundance  carried  in 
the  present  name  of  the  court. 

Mullgardt  conceived  this  court  as  a  sermon  in  stone.  Its  sig- 
nificance as  a  whole  is  best  explained  by  the  architect  himself. 
He  interprets  the  court  as  rising  in  four  horizontal  strata  : 

"The  court  is  an  historical  expression  of  the  successive  Ages  of 
the  world's  growth.  The  central  fountain  symbolizes  the  nebulous 
world,  with  its  innate  human  passions.  Out  of  a  chaotic  condition 


SYMBOLISM  OF  THE  COURT  OF  AGES  67 

came  Water  (the  basin),  and  Land  (the  fountain),  and  Light  (the 
Sun,  supported  by  Helios,  and  the  electroliers).  The  braziers  and 
cauldrons  symbolize  Fire.  The  two  sentinel  columns  to  the  right 
and  left  of  the  tower  symbolize  Earth  and  Air.  The  eight  paintings 
of  the  four  corners  of  the  ambulatory  symbolize  the  elements  of 
Earth,  Air,  Fire  and  Water.  The  central  figure  in  the  North  Avenue 
symbolizes  'Modern  Time  Listening  to  the  Story  of  the  Ages.' 

"The  decorative  motifs  employed  on  the  surrounding  arcade  are 
sea-plant  life  and  its  animal  evolution.  The  piers,  arches,  reeds 
and  columns  bear  legendary  decorative  motifs  of  the  transition  of 
plant  to  animal  life  in  the  forms  of  tortoise  and  other  shell 
motifs; — kelp  and  its  analogy  to  the  prehistoric  lobster,  skate, 
crab  and  sea  urchin.  The  water-bubble  motif  is  carried  through 
all  vertical  members  which  symbolize  the  Crustacean  Period, 
which  is  the  second  stratum  of  the  court. 

"The  third  stratum,  the  prehistoric  figures,  surmounting  the 
piers  of  the  arcade,  also  the  first  group  over  the  tower  entrance, 
show  earliest  forms  of  human,  animal,  reptile  and  bird  life,  sym- 
bolizing the  Stone  Age  Period. 

"The  fourth  stratum,  the  second  group  in  the  altar  tower,  sym- 
bolizes human  struggle  for  emancipation  from  ignorance  and 
superstition,  in  which  Religion  and  War  are  dominating  factors. 
The  kneeling  figures  on  the  side  altar  are  similarly  expressive. 
The  torches  above  these  mediaeval  groups  symbolize  the  Dawn  of 
Understanding.  The  chanticleers  on  the  finials  surrounding  the 
court  symbolize  the  Christian  Era.  The  topmost  figure  of  the  altar 
symbolizes  Intelligence,  'Peace  on  Earth,  Good  Will  Towards  All,' 
the  symbols  of  Learning  and  Industry  at  her  feet.  The  topmost 
figure  surmounting  the  side  altar  symbolizes  Thought.  The  arched 
opening  forming  the  inclosure  of  the  altar  contains  alternating 
masks  expressing  Intelligence  and  Ignorance  in  equal  measure, 
symbolizing  the  Peoples  of  the  World.  A  gradual  development  to 
the  higher  forms  of  plant  life  is  expressed  upward  in  the  altar 
tower,  the  conventionalized  lily  petal  being  the  highest  form." 

This,  then,  is  the  lesson,  the  deepest  and  most  spiritual  at- 
tempted in  any  of  the  Exposition  structures,  and  surely  entitling 
the  court  to  be  called,  as  its  creator  wished,  the  Court  of  the  Ages. 

BRANGWYN'S  MURALS.— The  mural  paintings  by  Frank  Brang- 
wyn  in  the  four  corners  of  the  arcades  are  rich,  glorious  in  color, 
freighted  with  the  opulence  of  the  harvest,  but  they  symbolize  the 
four  primeval  elements — Earth,  Air,  Fire  and  Water.  Their  themes 
have  nothing  to  do  with  Abundance.  It  is  unfortunate  that  these 
pictures,  far  and  away  the  best  in  the  decoration  of  the  Exposition, 
have  been  hidden  in  the  corners  of  a  court.  The  canvases  are  bold, 


68  THE  JEWEL  CITY 

free,  vast  as  the  elements  they  picture.  They  need  space.  When 
they  were  unpacked  and  hung  on  the  walls  of  Machinery  Hall,  they 
were  far  more  effective.  Here  they  are  cramped  by  their  close 
quarters,  and  easily  overlooked.  People  are  not  going  in  to  see 
them  as  they  should,  and  so  are  missing  one  of  the  chief  joys  of 
the  Exposition, — the  masterpieces  of  one  of  the  world's  greatest 
living  painters. 

These  representations  of  the  four  elements  glow  and  burn  with 
the  vivid  hues  of  nature.  All  of  the  pictures  have  a  setting  of 
autumn,  that  season  of  the  year  when  nature  puts  on  her  dying 
hues,  and  floods  the  earth  with  color.  Their  rich  reds,  purples, 
yellows,  browns,  greens  and  indigoes  are  the  hues  of  autumn  skies, 
the  falling  leaves  of  hardwoods,  the  dense  foliage  of  pines,  colors 
of  the  harvest,  of  fruit  and  grapes,  of  flowers,  and  of  deep  waters. 
The  men  and  women  in  them  are  primeval,  too,  of  Mediterranean 
type,  and  garbed  in  the  barbaric  colors  in  which  Southern  folk 
express  the  warmth  of  their  natures. 

Free  and  vivid  as  is  their  color,  the  breadth  of  primeval  liberty 
is  not  less  seen  in  the  splendid  spaces  of  Brangwyn's  pictures.  The 
forest  vistas  are  illimitable;  the  air  has  the  freedom  of  the  Golden 
Age;  the  skies  stretch  out  and  up  to  heaven. 

Each  set  of  two  pictures  represents  one  of  the  elements.  The 
first  of  the  EARTH  pictures  in  the  northwest  corner  of  the  corri- 
dor is  a  harvest  of  orchard  fruits,  products  of  earth.  Tall  cypresses 
on  the  right  enhance  the  vast  space  of  sky  over  the  orchard,  the 
best  sky  in  all  the  eight  paintings.  The  colors  are  those  of  the  rich 
fruits,  the  autumn  flowers,  and  the  garish  costumes  of  Brangwyn's 
peasantry.  The  companion  picture  represents  a  vintage,  with 
great  purple  grapes  hanging  among  the  bronzing  leaves  on  a  trellis, 
and  yellow  pumpkins  and  flowers  underfoot.  The  color  is  in  these, 
and  in  the  same  Southern  costumes  seen  in  the  first  picture. 

The  first  of  the  AIR  pictures  is  as  easy  to  read  as  the  second  is 
difficult.  (P.  74.)  In  it  a  huge  windmill  stands  on  a  height  against 
rain-laden  clouds  and  a  glowing  rainbow.  The  slope  is  covered 
with  heavy-headed  grain,  and  stained  with  vivid  flowers,  all  bend- 
ing before  the  swift  currents  of  air.  Laborers,  men  and  women, 
hurry  homeward  before  the  wind,  from  their  task  of  winnowing 
grain.  Boys  flying  their  kites  complete  the  symbolism. 

In  the  companion  picture  a  group  of  archers  are  loosing  their 
arrows  between  the  boles  of  tall,  straight  hardwoods  on  the  brink 
of  a  deep  valley.  Great  white  birds  are  winging  outward  through 
the  tops  of  the  trees.  The  distance  in  the  sky  beyond  is  wonderful. 
The  color  is  of  the  gorgeous  autumn  leaves  of  hardwoods  and  of 
rich  flowers. 


THE  TOWER  OF  THE  AGES,  Louis  Christian  Mullgardt,  architect,  carries  the  story 
of  life  told  by  the  Court  of  the  Ages  up  from  the  lowest  sea  forms  through  the 
several  eras  of  human  history  to  triumphant  Intelligence,  crowned  as  Modern 
Civilization.  In  the  foreground,  is  the  FOUNTAIN  OF  EARTH,  by  Robert  Aitken. 

(  P.  70  ) 


BRANGWYN'S  GLORIOUS  MURALS  71 

In  one  of  the  WATER  pictures  fishermen  are  drawing  a  net 
from  a  lake  suggested  by  a  fringe  of  purple,  white  and  yellow  iris. 
The  men  seem  to  stand  on  an  island  or  a  peninsula,  for  behind 
them,  beyond  tall  trees,  is  a  deep  indigo  lake.  Great  pregnant 
clouds  float  in  the  sky,  and  the  picture  glows  with  autumn  colors. 

In  the  other,  men  and  women  come  forward  with  water  jars  to 
a  source  suggested  by  tall  white  water  birds  and  flowers  growing 
thick  among  the  sedges.  There  are  the  same  clouds,  big  with  the 
promise  of  rain,  and  the  same  profusion  of  vivid  hues. 

PRIMITIVE  FIRE  is  suggested  in  the  next  pair  by  a  thick-clus- 
tered group  of  peasants  with  hands  outstretched  where  a  thin  col- 
umn of  smoke  rises  straight.  Autumn  skies  and  foliage  tell  of  chill 
in  the  air.  The  colors  burn  in  dying  leaves,  in  the  sky,  in  fruit  and 
grapes.  A  man  is  bringing  a  burden  of  fagots.  Men  of  bovine  anat- 
omy crouch  before  the  fire,  their  backs  arched,  their  cheeks  bulg- 
ing, as  they  blow  it  into  flame.  These  folk  are  all  primitive,  candid 
in  their  animalism,  Samsons  in  limb  and  muscle.  Brangwyn's  mas- 
tery of  anatomy  is  notable,  and  he  builds  his  men  with  every  flexor 
showing,  like  a  machine. 

Pottery  burners  working  around  a  furnace  dimly  suggested  con- 
vey the  idea  of  INDUSTRIAL  FIRE  in  the  last  of  the  pictures. 
There  is  the  same  motif  of  cold  in  the  sky  and  the  fruits,  intensi- 
fied by  the  somber  leafage  of  fir  and  pine. 

In  striking  contrast  with  the  light  and  ethereal  quality  of  the 
allegorical  murals  in  the  arches  of  the  Court  of  the  Universe,  these 
paintings  are  rich  to  the  point  of  opulence.  There  is  an  enormous 
depth  in  them.  The  figures  are  full-rounded.  The  fruits,  flowers 
and  grain  hang  heavily  on  their  steams.  The  trees  bear  themselves 
solidly.  The  colors,  laid  on  with  strong  and  heavy  strokes,  fairly 
flame  in  the  picture. 

Public  auction  is  the  fate  said  to  be  destined  by  the  Exposition 
company  for  these  wonderful  pictures.  It  is  not  to  be  blamed  for 
this.  It  is  a  business  corporation,  and  these  paintings  are  assets 
on  which  it  may  be  necessary  to  realize.  But  if  the  company  finds 
itself  financially  able,  it  should  see  to  it  that  the  paintings  remain 
in  San  Francisco  as  the  property  of  the  city.  Like  the  great  organ 
in  Festival  Hall,  which  the  Exposition  has  promised  to  install  in 
the  Civic  Auditorium  when  the  fair  ends,  these  splendid  pictures 
should  be  hung  in  the  Auditorium  as  a  gift  to  the  city. 

If  the  Exposition  is  not  able  to  give  them,  an  opportunity  is  pre- 
sented for  men  of  wealth  to  do  art  a  great  service  in  San  Francisco. 
Our  cities,  unlike  those  of  Europe  and  of  South  America,  are  not 
accustomed  to  buy  works  of  art.  Private  generosity,  then,  must 
supply  the  deficiency. 


72  THE  JEWEL  CITY 

In  the  northern  extension  of  the  court,  beyond  the  tower,  where 
the  Spanish  decoration  is  carried  almost  to  the  bayward  facade  of 
the  palace  group  stands  a  massive  female  figure,  Modern  Time  Lis- 
tening to  the  Story  of  the  Ages.  Beyond  it  are  four  standards  of 
the  Sun,  like  two  at  the  southern  end  of  the  pool  in  the  main  court, 
brilliant  at  night. 

There  remains  but  the  central  fountain,  in  the  main  court,  sym- 
bolizing the  Earth,  done  by  Robert  Aitken.  (P.  73.)  Taken  by  itself, 
this  is  a  notable  work,  but  it  is  not  in  keeping  with  the  romantic 
spirit  of  the  Court  of  Ages.  Its  figures  are  magnificently  virile,  but 
wholly  realistic.  Only  at  night,  when,  through  clouds  of  rising 
steam,  the  globe  of  the  Earth  glows  red  like  a  world  in  the  making, 
and  from  the  forked  tongues  of  the  climbing  serpents  flames  pour 
out  on  the  altars  set  around  the  pool, — only  then  does  the  fountain 
become  mystic.  Even  then  it  suggests  cosmogony,  mechanics, 
physics,  which  are  not  romantic,  except  in  so  far  as  there  may  be 
romance  of  the  intellect.  However,  this  is  Aitken,  not  Mull- 
gardt.  The  allegories  of  the  group  are  detailed  in  the  chapter  on 
Fountains. 


'AIR,"  one  of  Frank  Brangwyn's  great  mural  paintings  in  the  Court  of 
the  Ages,  suggests  the  element  through  the  symbols  of  a  windmill, 
kites,  storm-clouds,  bending  flowers  and  wheat,  and  the  blown  gar- 
ments of  the  laborers  hurrying  home  from  their  winnowing. 

(  P.  74  ) 


VIII. 
THE  COURT  OF  THE   SEASONS 

A  charming  bit  of  Italian  Renaissance — Its  quiet  simplicity — The 
alcove  Fountains  of  the  Seasons,  by  Furio  Piccirilli — Milton 
Bancroft's  Murals — The  forecourt,  with  Evelyn  Longman's 
Fountain  of  Ceres — Inscriptions. 


N  THE  COURT  OF  THE  SEASONS,  the  architect,  Henry 
Bacon  of  New  York,  has  shown  us  a  charming  mood  of 
the  Italian  Renaissance.  (Pp.  79,  80.)  This  court, 
neither  too  splendid  to  be  comfortable  nor  too  ornate 
to  be  restful,  is  full  of  a  quiet  intimacy.  Nature's  calm 
is  here.  It  is  a  little  court,  and  friendly.  Its  walls  are  near  and 
sheltering.  People  like  to  sit  here  in  the  shelter  of  the  close 
thickets  around  the  still  pool  in  the  center.  I  notice,  too,  that 
persons  hastening  across  the  grounds  come  this  way,  and  that 
they  unconsciously  slacken  pace  as  they  walk  through  the  court. 
This  is  the  only  one  of  the  three  central  courts  in  which  every- 
thing is  in  harmony.  There  is  nothing  obtrusive  about  it.  The 
effect  is  that  of  a  perfect  whole,  simple,  complete.  The  round  pool, 
smooth,  level  with  the  ground,  unadorned,  gives  its  note.  The 
colors  are  warm,  the  massive  pillars  softly  smooth.  The  trees 
press  close  to  the  walls,  the  shrubbery  is  dense.  Birds  make 
happy  sounds  among  the  branches.  Water  falls  from  the  foun- 
tains in  the  alcoves,  not  with  a  roar,  but  with  something  more  than 
a  woodland  murmur.  These  fountains  touch  one  of  the  purest 
notes  in  nature.  In  cool,  high,  bare-walled  alcoves  the  water  falls 
in  sheets  from  terrace  to  terrace,  at  last  into  a  dark  pool  below. 
The  sound  is  steady,  gently  reinforced  by  echo  from  the  clean 
walls  behind,  and  pervasive.  It  is  a  very  perfect  imitation  of  the 
sound  of  mountain  waters. 

Nothing  in  this  court  takes  effort.  The  pictures  and  the  sculp- 
ture of  the  alcoves  and  the  half-dome  tell  their  own  story.  Here 
is  no  elusive  mysticism,  no  obscure  symbolism  to  be  dug  out  with 
the  help  of  guidebooks,  like  a  hard  lesson.  The  treasures  of  the 
Seasons  are  on  the  surface,  glowing  in  the  face  of  all. 

The  SEASONS  are  sheltered  in  the  four  alcoves,  distinguished 
from  each  other  only  by  the  fountain  groups  of  Furio  Piccirilli 
and  the  murals  by  H.  Milton  Bancroft.  Neither  pictures  nor 
statues  need  much  explanation.  The  first  alcove  to  the  left  of  the 
half-dome  is  that  of  SPRING.  In  the  sculptured  group  of  the 
fountain,  flowers  bloom  and  love  awakens.  It  is  a  fresh  and  grace- 
ful composition.  The  murals  are  on  the  faces  of  the  corridor 


76  THE  JEWEL  CITY 

arches.  No  one  can  mistake  their  meaning.  Springtime  shows  her 
first  blossoms,  and  the  happy  shepherd  pipes  a  seasonal  air  to  his 
flock,  now  battening  on  new  grass.  In  the  companion  picture, 
Seedtime,  are  symbols  of  the  spring  planting. 

Next  comes  SUMMER,  the  time  of  Fruition.  (P.  94.)  Above 
the  fountain  the  mother  gives  the  new-born  child  to  its  happy 
father,  and  the  servant  brings  the  first  fruits  of  the  harvest.  This 
is  less  likable  than  the  other  groups.  The  posture  of  the  mother 
is  not  a  happy  one.  The  two  murals  picture  Summer  and  Fruition. 
Bancroft  has  taken  athletic  games  as  the  symbol  of  the  season. 
Summer  is  crowning  the  victor  in  aquatic  sports.  Conventional 
symbols  of  fruits  and  flowers  represent  Fruition. 

In  the  group  of  AUTUMN,  Providence  is  the  central  figure, 
directing  the  Harvest.  She  is  bringing  in  the  juice  of  the  grape. 
The  season  is  significantly  represented  in  the  full  modeling  of 
the  figures  and  the  maturity  of  the  adults.  The  mural  of  Autumn, 
in  the  rich  colors  of  the  dying  year,  suggests  by  its  symbols  of 
wine  and  music,  the  harvest  festival.  Opposite,  is  pictured  the 
Harvest,  with  the  garnered  crops. 

Last  of  all  is  WINTER,  with  the  bare  desolation  of  the  wintry 
world  in  the  melancholy  fountain  group.  Then  Nature  rests  in 
the  season  of  conception,  while  a  man  sows,  his  companion  having 
prepared  the  ground.  In  his  mural  of  Winter,  Bancroft  pictures 
the  snowy  days,  the  fuel  piled  against  the  cold,  the  chase  of  the 
deer,  the  spinning  in  the  long  evenings.  The  companion  piece 
represents  the  festival  side  of  the  season,  when  men  have  time  to 
play.  The  Seasons  are  complete. 

On  the  walls  of  the  half-dome  are  two  formal  paintings  by 
Bancroft,  conventional  but  charming  in  their  allegory.  These  are 
Bancroft's  best  murals.  In  the  first,  Time  crowns  Art,  while  her 
handmaids,  Painting,  Pottery,  Weaving,  Glass-making,  Metal-work- 
ing and  Jewel-making,  stand  in  attendance.  In  the  other,  Man  is 
taught  the  laws  of  Love,  Life,  and  Death,  Earth,  Fire,  and  Water. 

On  the  summit  of  the  half-dome  is  a  group  representing  the 
Harvest,  and  before  it,  on  two  splendid  columns,  are  Rain,  a 
woman  bearing  the  cup  of  the  waters,  and  Sunshine,  another  with 
a  palm  branch.  All  three  are  by  Albert  Jaegers.  At  the  other 
extremity  of  the  court  each  of  the  two  pylons  is  surmounted  by  a 
bull,  wreathed  in  garlands,  and  led  by  man  and  maiden  to  the 
sacrifice.  These  groups,  each  called  the  Feast  of  the  Sacrifice,  are 
also  by  Albert  Jaegers.  (P.  79.)  The  spandrels  on  the  arches  and 
the  female  figures  on  the  cornices  are  by  his  brother,  August 
Jaegers. 

The  abundance  of  the  Seasons  is  symbolized  in  the  fruit-bearing 


A  GODDESS  PROPERLY  CLOTHED!  77 

figures  that  form  the  pilasters  of  the  cornices  of  the  arches,  and 
by  the  fat  ears  of  corn  depending  from  the  Ionic  capitals  of  the 
columns.  These  types  of  fruitfulness  have  a  further  justification 
in  the  neighborhood  of  the  Palaces  of  Agriculture  and  Food 
Products,  which  border  the  court  on  the  north. 

The  eastern  and  western  arches  are  exquisite  in  their  simple 
proportion,  and  the  delicate  charm  of  the  fresco  of  their  vaulted 
passages.  The  quality  of  this  interior  decoration  is  enhanced  by 
the  beauty  of  the  staff  work,  which  throughout  this  court  is  the 
most  successful  found  in  the  Exposition.  Here  this  plaster  is  soft, 
rich  and  warm,  and  looks  more  real  and  permanent  than  elsewhere. 

I  prefer  to  consider  the  northern  approach  between  the  two 
palaces  as  not  a  part  of  this  court.  The  pleasant  intimacy  of  the 
court  would  have  been  enhanced  if  it  had  been  cut  off  from  this 
approach  by  an  arch.  Half  way  down  the  forecourt  is  the  formal 
fountain  of  Ceres  by  Evelyn  Beatrice  Longman,  which  must  cheer 
the  hearts  of  those  who  would  have  all  art  draped. 


INSCRIPTIONS  IN  COURT  OF   SEASONS 

(a)  On  arch  at  east  side: 

SO  FORTH  ISSEW'D  THE  SEASONS  OF 
THE  YE  ARE  —  FIRST  LUSTY  SPRING  ALL 
DIGHT  IN  LEAVES  AND  FLOWRES. 
THEN  CAME  THE  JOLLY  SOMMER  BEING  DIGHT 
IN  A  THIN  SILKEN  CASSOCK  COLOURED  GREENE. 
THEN   CAME  THE  AUTUMNE  ALL  IN  YELLOW  CLAD. 
LASTLY  CAME  WINTER  CLOATHED  ALL  IN  PRIZE 
CHATTERING  HIS  TEETH  FOR  COLD  THAT  DID  HIM  CHILL. 

— Spenser. 

(b)  On  arch  at  west  side: 

FOR  LASTING  HAPPINESS  WE  TURN 
OUR  EYES  TO  ONE  ALONE 
AND   SHE   SURROUNDS  YOU  NOW. 
GREAT  NATURE  REFUGE  OF  THE 
WEARY  HEART  AND  ONLY  BALM  TO 
BREASTS  THAT  HAVE  BEEN   BRUISED. 
SHE  HATH  COOL  HANDS  FOR  EVERY 
FEVERED  BROW  AND  GENTLEST 
SILENCE  FOR  THE  TROUBLED  SOUL. 

—Sterling. 


IX. 

THE  COURTS  OF  FLOWERS  AND  PALMS 

The  Court  of  Flowers  typically  Italian — Its  delightful  garden  and 
fountain,  "Beauty  and  the  Beast,"  by  Edgar  Walter — Borglum's 
fine  group,  "The  Pioneer" — The  Court  of  Palms  is  Grecian  in 
feeling — "The  End  of  the  Trail"  by  Eraser,  a  chapter  in  Amer- 
ican history — Murals  in  the  doorways — Arthur  Mathews' 
"Triumph  of  Culture." 

EGESSED  in  the  south  front  of  the  palace  group,  and 
leading  back  to  the  Court  of  the  Seasons  and  the  Court 
of  the  Ages,  are  two  perfect  smaller  courts,  each 
admirably  living  up  to  its  name— the  COURT  OF 
FLOWERS  and  the  COURT  OF  PALMS.  (See  pp.  85, 
88,  93.)  Both  courts  were  designed  by  George  W.  Kelham.  Each 
is  a  pleasant  and  colorful  bay  of  sunshine  facing  southward  be- 
tween two  graceful  towers.  One  is  bright  with  level  fields  of 
flowers,  the  other  cool  with  greensward  and  palms  set  about  a 
sunken  garden.  Both  are  calm,  peaceful  spots  to  rest  and  dream  in 
the  sun.  Both  are  of  the  South.  Here  summer  first  unfolds  her 
robes,  and  here  she  longest  tarries. 

Though  at  first  sight  these  courts  are  much  alike,  they  differ  in 
feeling  and  effect.  The  Court  of  Flowers  is  Italian,  the  Court  of 
Palms  Grecian,  though  Grecian  with  an  exuberance  scarcely  Athe- 
nian. Perhaps  there  is  something  Sicilian  in  the  warmth  of  its 
decoration.  When  it  is  bright  and  warm,  the  Court  of  Palms  is 
most  Greek  in  feeling;  less  so  on  duller  days. 

But  the  COURT  OF  FLOWERS  is  Italian  in  all  moods.  With  its 
shady  balcony  above  the  colonnade,  it  might  be  in  Verona  or  Man- 
tua. It  is  a  graceful  court,  formal,  yet  curiously  informal.  Its 
paired  Corinthian  columns,  its  conventional  lions  by  the  porches 
and  its  flower  girls  around  the  balcony,  its  lamp  standards  and  the 
sculptured  fountain,  go  with  formal  gardens.  The  garden  here  is 
itself  formal  in  its  planting,  and  yet  so  simple,  so  natural,  that  it 
banishes  all  ceremony. 

This  garden  is  one  of  the  best  things  in  the  truly  wonderful 
floral  show  at  the  Exposition.  The  flowers  are  massed  as  we 
always  dream  of  seeing  them  in  the  fields, — a  dream  never  quite  so 
well  realized  before.  The  areas  of  the  court  in  the  Exposition's 
opening  weeks  were  solid  fields  of  daffodils,  thick  as  growing 
wheat,  with  here  and  there  a  blood-red  poppy,  set  to  accent  the 
yellow  gold  of  the  mass.  Other  flowers  have  now  replaced  these 
in  an  equal  blaze  of  color.  Here,  too,  are  free,  wild  clumps  of  trees 


ARCH  IN  THE  COURT  OF  THE  SEASONS.  Stately  simplicity  of  architecture 
and  masses  of  foliage  give  this  court  a  charm  of  its  own,  unsurpassed  by 
its  larger  and  more  ornate  neighbors. 

(  P.  80  ) 


AMERICAN  HISTORY  IN  SCULPTURE  81 

and  shrubs,  close  set,  with  straggling  outposts  among  the  flowers, 
as  natural  as  those  bordering  grain  fields  in  California  valleys. 

It  is  a  summery  court,  lacking  but  one  thing  to  make  it  ideally 
perfect.  It  ought  to  have  crickets  and  cicadas  in  it,  to  rasp  away  as 
the  warm  afternoons  turn  into  evening,  and  tree  hylas  to  make 
throaty  music  in  the  still,  rich-lighted  night. 

The  statuary  goes  well  with  the  court.  There  is  a  pretty,  sum- 
mery grace  about  the  flower  girls  designed  by  Calder  for  the  niches 
above  the  colonnade,  and  in  the  figures  of  Edgar  Walter's  central 
fountain.  Here  on  the  fountain  are  BEAUTY  AND  THE  BEAST, 
Beauty  clad  in  a  summer  hat  and  nothing  else,  the  Beast  clothed 
in  ugliness.  (P.  100.)  Never  mind  the  story.  This  is  Beauty, 
and  Beauty  needs  no  story.  Four  airy  pipers,  suggestive  at  least 
of  the  song  of  the  cicada  on  long,  hot  afternoons,  support  the 
fountain  figure.  Around  the  basin  of  the  pool  is  carved  in  low 
relief  a  cylindrical  frieze  of  tiger,  lion  and  bear,  and,  wonder  of 
wonders,  Hanuman,  the  Monkey  King  of  Hindoo  mythology,  lead- 
ing the  bear  with  one  hand  and  prodding  the  lion  with  the  other. 

Before  the  court  THE  PIONEER  sits  his  horse,  a  thin,  sinewy, 
nervous  figure;  old,  too, — as  old  as  that  frontier  which  has  at  last 
moved  round  the  world.  (See  p.  87.)  The  statue,  which  is  by 
Solon  Borglum,  is  immensely  expressive  of  that  hard,  efficient 
type  of  frontiersmen  who,  scarcely  civilized,  yet  found  civiliza- 
tion always  dogging  their  footsteps  as  they  moved  through  the 
wilderness  and  crossed  the  deserts.  He  is,  indeed,  the  forerunner 
of  civilization,  sent  forward  to  break  ground  for  new  states. 
This  group  is  offset  against  that  other  fine  historical  sculpture, 
THE  END  OF  THE  TRAIL,  placed  before  the  Court  of  Palms. 
As  representatives  of  the  conquering  and  the  conquered  race,  the 
two  must  be  studied  together. 

The  elusive  Grecian  feeling  of  the  COURT  OF  PALMS  comes 
in  large  part  from  the  simple  Ionic  columns,  and  the  lines  of  the 
gabled  arches.  Properly,  this  court  is  in  the  Italian  Renaissance, 
but  it  is  less  Italian  than  the  Court  of  Flowers.  Like  that  court, 
it  is  warm  and  sunny,  full  of  color  and  gladness.  It  has  the  same 
harmonious  perfection,  but  it  is  more  formal.  Its  sunken  garden 
is  bordered  with  a  conventional  balustrade  and  grass  slopes,  with 
marble  seats  by  the  paths.  There  is  no  fountain,  only  a  long  pool 
in  the  sunken  area,  and  a  separate  raised  basin  at  the  inner  end 
with  gently  splashing  jets,  giving  out  a  cool  and  peaceful  sound. 
Fat  decorated  urns,  instead  of  lions,  guard  the  entrances  to  the 
buildings.  Italian  cypresses  border  the  court,  with  formal  clipped 
acacias  in  boxes  between  the  pillars  of  the  colonnade. 

The  Fountain  of  Beauty  and  the  Beast,  which  stands  in  the 


82  THE  JEWEL  CITY 

Court  of  Flowers,  was  designed  to  be  set  here,  while  Mrs.  Harry 
Payne  Whitney's  Fountain  of  the  Arabian  Nights  was  to  have 
found  a  place  in  the  Court  of  Flowers.  These  two  courts  were 
planned  as  the  homes  of  the  fairy  tales,  one  of  Oriental,  the  other 
of  Occidental  lore.  Many  beautiful  things  were  designed  for  them. 
The  attic  of  the  Court  of  Flowers,  which  was  intended  as  the 
place  of  Oriental  Fairy  Tales,  was  to  have  carried  sculptured 
stories  from  the  Arabian  Nights.  But  none  of  these  things  was 
done.  Mrs.  Whitney's  fountain  was  modeled  but  never  made, 
unfortunately,  for  the  modeled  figures  are  charming. 

The  only  sculpture  in  the  Court  of  Palms,  aside  from  the  "End 
of  the  Trail,"  which  stands  before  it,  is  in  the  decoration  of  the 
entablature  and  the  arches.  Horned  and  winged  female  caryatids 
mark  off  the  entablature  into  garlanded  panels.  All  the  three 
arches  under  the  gables  are  enriched  with  figures  of  women  and 
of  children  supporting  a  shield,  conventional  groups,  but  graceful. 

"THE  END  OF  THE  TRAIL,"  by  James  Earle  Fraser,  of  New 
York,  is  a  great  chapter  in  American  history,  told  in  noble  sculp- 
ture. The  dying  Indian,  astride  his  exhausted  cayuse,  expresses 
the  hopelessness  of  the  Red  Man's  battle  against  civilization. 
(P.  86.)  There  is  more  significance  and  less  convention,  perhaps, 
in  this  than  in  any  other  piece  of  Exposition  sculpture.  It  has 
the  universal  touch.  It  makes  an  irresistible  appeal. 

To  make  up  for  the  lack  of  statuary  in  this  court  there  are 
mural  paintings  over  the  entrances  leading  into  the  Palaces  of 
Education  and  Liberal  Arts  on  either  hand,  and  into  the  Court  of 
the  Seasons.  Of  these  three  lunettes  two  add  little  to  the  beauty 
of  the  court  except  for  the  vivid  touch  of  color  which  they  give  it. 
One,  over  the  door  of  the  Palace  of  Education,  is  entitled  "FRUITS 
AND  FLOWERS,"  by  Childe  Hassam.  It  is  a  triumph  of  straight 
line  applied  to  the  female  form.  Over  the  door  of  the  Palace  of 
Liberal  Arts  is  "THE  PURSUIT  OF  PLEASURE,"  ascribed  to 
Charles  Holloway.  The  figures  are  gracefully  drawn,  the  coloring 
flowery.  There  is  better  quality  in  Arthur  F.  Mathews'  "TRIUMPH 
OF  CULTURE,"  over  the  entrance  to  the  Court  of  Seasons.  In  color 
and  force  this  comes  nearer  to  the  splendid  standard  set  by  Frank 
Brangwyn  than  anything  else  in  the  Exposition's  mural  decoration. 
Perhaps  that  is  too  faint  praise,  for  this  is  a  real  picture.  In  it  a 
victorious  golden  spirit,  crowding  aside  brute  force,  allows  the 
Humanities,  representatives  of  Culture,  to  triumph  as  the  guard- 
ians of  Youth.  The  figures  are  human,  there  is  strength  and  ease 
in  them,  and  the  color  is  a  deep-toned  song. 


X. 

THE  FOUNTAINS 

A  characteristic  and  fitting  feature  of  the  Exposition — Fountain 
of  Energy — The  Mermaids — Gertrude  Vanderbilt  Whitney's 
"El  Dorado"  and  Mrs.  Burroughs'  "Youth" — Rising  and  Setting 
Sun — Piccirilli's  "Seasons" — Aitken's  masterpiece,  the  Foun- 
tain of  Earth — "Beauty  and  the  Beast." 

HE  fountain,  the  spring,  the  well,  is  a  characteristic 
note  in  the  life  and  art  of  all  lands  in  the  Sun.  The 
Arabians,  the  Moors,  the  Spaniards,  the  Italians  and 
the  Greeks  loved  fountains.  It  is  less  so  in  the  North, 
in  the  regions  of  much  rain,  where  water  flows  natur- 
ally everywhere.  But  nothing  is  so  welcome  in  a  thirsty  land  as 
a  fountain.  Hence  there  is  appropriateness  in  the  many  fountains 
of  this  Exposition,  which  reflects  in  its  plan  the  walled  cities  of 
the  Orient  of  the  Mediterranean,  where  fountains  play  in  the 
courts  of  palaces,  in  public  squares  and  niches  in  the  walls;  and 
pools  lie  by  the  mosques,  and  in  the  gardens. 

Here  are  many  kinds  of  fountains,  from  huge  masses  of  sculp- 
ture spouting  forth  many  powerful  streams  in  the  sun  to  terraced 
basins  where  water  murmurs  in  quiet  alcoves,  and  simple  jets 
tinkling  in  summery  courts.  Of  those  fountains  that  have  espe- 
cially been  dignified  and  adorned  by  sculpture  there  are  fourteen, 
some  single,  some  in  pairs,  with  one  quartet  in  the  Court  of 
Seasons.  Their  sequence  from  the  chief  gate  of  the  Exposition 
follows  in  a  way  the  symbolic  significance  of  all  the  sculpture. 

The  FOUNTAIN  OF  ENERGY,  by  A.  Stirling  Calder,  in  the 
center  of  the  South  Gardens  before  the  Tower  of  Jewels,  as  a 
figure  of  aquatic  triumph,  celebrates  the  completion  of  the  Panama 
Canal.  (See  p.  47.)  Resting  on  a  pedestal  in  the  center  of  the  pool, 
and  supported  by  a  circle  of  figures  representing  the  dance  of  the 
oceans,  is  the  Earth,  surmounted  by  a  figure  of  Energy,  the  force 
that  dug  the  canal.  Fame  and  Victory  blow  their  bugles  from  his 
shoulders.  When  all  the  jets  are  playing,  Energy,  horsed,  rides 
through  the  waters  on  either  hand. 

The  band  around  the  Earth,  decorated  with  sea  horses  and 
fanciful  aquatic  figures,  represents  the  seaway  now  completed 
around  the  globe.  On  one  side  a  bull-man,  a  rather  weak-chinned 
minotaur,  stands  for  the  strength  of  Western  civilization;  on  the 
other,  a  cat-woman  represents  the  civilization  of  the  Eastern  hemi- 
sphere. Surrounding  the  central  figure  in  the  pool  are  the  four 
Oceans, — the  Atlantic  with  corraled  tresses  and  sea  horses  in  her 


84  THE  JEWEL  CITY 

hand,  riding  a  helmeted  fish;  the  Northern  Ocean  as  a  Triton 
mounted  on  a  rearing  walrus;  the  Southern  Ocean  as  a  negro  back- 
ing a  sea  elephant  and  playing  with  an  octopus;  and  the  Pacific 
as  a  female  on  a  creature  that  might  be  a  sea  lion,  but  is  not. 
Dolphins  backed  by  nymphs  of  the  sea  serve  a  double  purpose  as 
decoration  and  as  spouts  for  the  waters. 

The  central  figure  of  this  fountain  has  been  severely  criticised, 
and  with  reason.  The  design  is  a  beautiful  one,  but  unfortunately 
not  well  adapted  to  reproduction  on  so  large  a  scale.  Symbolism 
is  here  carried  to  an  extreme  that  spoils  the  simplicity  which  alone 
makes  a  really  great  work  imposing.  Calder  had  a  fine  idea  of  a 
figure  of  joyous  triumph  to  stand  as  the  opening  symbol  of  the 
festival  side  of  the  Exposition.  He  deserves  credit  for  the  real 
beauty  of  his  design.  It  is  a  pity  that  a  thing  so  charming  as  a 
model  should  not  have  worked  out  well  in  heroic  proportions. 

As  a  fountain,  though,  it  is  splendid.  The  pool  and  its  spouting 
figures  are  glorious.  The  play  of  the  waters  when  all  the  jets  are 
spouting  is  not  only  magnificent  but  unique.  This  veil  of  water 
shooting  out  and  falling  in  a  half  sphere  about  the  globe  has  not 
been  seen  before.  There  is  a  real  expression  of  energy  in  the 
force  of  the  leaping  streams. 

MERMAID  FOUNTAINS,  by  Arthur  Putnam.— At  the  far  end  of 
each  of  the  lovely  pools  in  the  South  Gardens  is  an  ornamental 
fountain  of  ample  basins  topped  by  a  graceful  mermaid,  behind 
whose  back  a  fish  spouts  up  a  single  jet  of  water.  These  are 
formal  fountains,  but  exceedingly  harmonious.  Without  trying  to 
be  pretentious,  they  achieve  an  effect  of  simple  beauty.  (P.  99.) 

"EL  DORADO"  and  "YOUTH."— Within  the  colonnaded  wings 
of  the  Tower  of  Jewels  are  two  fountains  which  carry  out  the 
symbolism  of  the  days  of  the  Spanish  explorers  in  their  themes, 
the  Aztec  myth  of  El  Dorado,  and  the  fabled  Fountain  of  Youth, 
sought  by  Ponce  de  Leon.  In  their  way,  these  are  the  loveliest 
fountains  on  the  Exposition  grounds,  though  they  differ  so  from 
all  the  rest  that  comparison  is  not  easy.  The  naive  conception  of 
the  Fountain  of  Youth  and  the  realistic  strength  of  that  of  El 
Dorado  lead  visitors  back  to  them  again  and  again.  They  are 
hidden  fountains,  as  their  prototypes  were  hidden.  Each  termi- 
nates one  of  the  two  open  colonnades  with  a  central  niche  compo- 
sition flanked  on  either  hand  by  a  sculptured  frieze.  Each  is  the 
work  of  a  woman  sculptor,  and  both,  though  very  different,  are 
far  from  the  conventional  or  the  commonplace. 

The  FOUNTAIN  OF  EL  DORADO,  by  Gertrude  Vanderbilt 
Whitney,  tells  the  story  of  an  Aztec  myth  of  a  god  whose  brilliance 
is  so  dazzling  that  the  sun  is  his  veil,  and  who  lives  in  a  darkened 


COURT  OF  FLOWERS,  DETAIL.  This  is  a  summery  Italian  court  set  in  the 
south  front  of  the  main  palace  group.  It  and  its  companion,  the  Court  of 
Palms,  were  designed  by  George  W.  Kelham,  architect. 


(  P.  85  ) 


"THE  END  OF  THE  TRAIL,"  by  James  Earle  Fraser,  a  noble  piece  of  historical 
sculpture,  illustrating  the  highest  aims  of  contemporary  American  art.  It 
stands  before  the  Court  of  Palms.  The  story  here  told  of  the  vanishing 
Indian  race  must  be  read  in  connection  with  that  of  "The  Pioneer." 

(  P.  86  ) 


THE  PIONEER,"  Solon  Borglum,  sculptor.  This  triumphant  American  fron- 
tiersman marching  indomitably  to  the  winning  of  the  West  presents  a  telling 
contrast  to  his  doomed  opponent,  the  Red  Man,  depicted  in  "The  End  of  the 
Trail."  The  group  is  placed  at  the  entrance  to  the  Court  of  Flowers. 

(  P.  87  ) 


THE  LURE  OF  EL  DORADO  89 

temple  lest  his  light  destroy  humanity.  (P.  54.)  At  the  center  of 
the  recessed  wall  are  doors  of  the  deity's  shaded  abode,  a  guardian 
on  either  side.  In  the  friezes  naked  humanity  moves  ever  onward, 
striving  to  reach  the  home  of  the  god.  The  figures,  in  full  relief, 
are  splendid  in  their  grace  and  vigor.  Here  are  men  and  women 
whom  nothing  can  hold  back;  here  are  those  who  must  be  pushed 
along,  some  who  linger  for  love,  others  for  worldly  goods;  but  all, 
the  strong  and  the  faint,  the  eager  and  the  tardy,  move  forward 
irresistibly  to  their  destiny. 

In  Wait's  "The  Stories  of  El  Dorado,"  the  following  account 
is  given  of  this  aboriginal  myth  of  an  expected  Indian  Messiah, — 
El  Hombre  Dorado,  the  Gilded  Man,  as  the  Spaniards  interpreted 
the  native  words, — which  played  a  fateful  part  in  the  history  of 
the  primitive  races  of  Spanish  America: 

"No  words  incorporated  into  the  English  language  have  been 
fraught  with  such  stupendous  consequences  as  El  Dorado.  When 
the  padres  attempted  to  tell  the  story  of  the  Christ,  the  natives 
exclaimed  'El  Dorado' — the  golden.  The  ignorant  sailors  and 
adventurers  seized  upon  the  literal  meaning,  instead  of  the 
spiritual  one.  The  time,  being  that  of  Don  Quixote  and  of  the 
Inquisition,  accounts  for  the  childish  credulity  on  one  side  and 
the  unparalleled  ferocity  on  the  other.  The  search  for  El  Dorado, 
whether  it  was  believed  to  be  a  fabulous  country  of  gold,  or  an 
inaccessible  mountain,  or  a  lake,  or  a  city,  or  a  priest  who 
anointed  himself  with  a  fragrant  oil  and  sprinkled  his  body  with 
fine  gold  dust,  must  always  remain  one  of  the  blackest  pages  in 
the  history  of  the  white  race.  The  great  heart  of  humanity  will 
ever  ache  with  sympathy  for  the  melancholy  and  pitiful  end  of 
the  natives,  who  at  the  time  of  the  conquest  of  Mexico  were  con- 
fidently expecting  the  return  of  the  mild  and  gentle  Quetzalcoatl,— 
the  Mexican  variant  of  this  universal  myth.  *  *  *  The  Golden 
Hearted  came  from  an  island  in  the  East,  and  to  this  he  returned, 
in  the  legend.  In  all  variants,  he  gave  a  distinct  promise  of  return. 
This  accounts  for  the  awe  inspired  by  Europeans  in  the  minds 
of  the  natives,  causing  them  everywhere  to  fall  easy  victims  of 
the  unscrupulous  adventurers  swarming  into  their  country.  Fate 
never  played  a  more  cruel  prank  than  to  have  one  race  of  men 
speak  and  act  constantly  from  the  standpoint  of  tradition,  while 
the  other  thought  solely  of  material  gain." 

Interesting,  too,  is  Mrs.  Edith  Woodman  Burroughs'  conception 
of  the  FOUNTAIN  OF  YOUTH.  (P.  53.)  The  beautiful  central 
figure  is  a  girl  child  standing  without  self-consciousness  by  bloom- 
ing primroses.  Modeled  faintly  on  the  pedestal  are  the  parents, 
from  whose  upturned  faces  and  uplifted  hands  the  primroses  seem 
to  spring.  In  the  friezes,  wistful  old  people  are  borne  onward  to 
Destiny  in  boats  manned  by  joyous  chubby  children,  unconscious 
of  their  priceless  gift  of  youth  to  which  their  elders  look  back 
with  so  much  longing. 


90  THE  JEWEL  CITY 

FOUNTAINS  IN  THE  COURT  OF  THE  UNIVERSE.— Passing 
through  the  Tower  of  Jewels  into  the  great  court  where  themes 
become  universal  under  the  circle  of  stars  above  the  surrounding 
colonnade,  we  come  to  the  FOUNTAINS  OF  THE  RISING  AND 
THE  SETTING  SUN,  by  A.  A.  Weinmann,  one  at  either  focus  of 
the  elliptical  sunken  garden.  In  the  East,  the  Sun,  in  the  strength 
of  the  morning,  his  wings  spread  for  flight,  is  springing  upward 
from  the  top  of  the  tall  column  rising  out  of  the  fountain.  Walk  to- 
ward him  from  the  west  and  you  get  the  effect  of  his  rising.  (P.  69.) 

At  his  feet  a  garland  of  children  is  woven  in  the  form  of  a 
ring  at  the  top  of  the  column.  At  the  base  of  the  shaft,  just  above 
the  basin,  is  a  cylindrical  frieze  in  low  relief,  symbolizing  Day 
Triumphant.  Weinmann  interprets  this  as  the  Spirit  of  Time, 
hour-glass  in  hand,  followed  by  the  Spirit  of  Light  with  flaming 
torch,  while  Energy  trumpets  the  approaching  day.  Interwoven 
with  these  figures  is  an  allegory  of  Truth  with  mirror  and  sword, 
escaping  from  the  sinister  power  of  Darkness,  Falsehood  shrink- 
ing from  its  image  in  the  mirror  of  Truth,  and  Vice  struggling 
in  the  coils  of  a  serpent.  It  is  not  easy  to  read  either  series,  or 
to  disentangle  one  from  the  other. 

In  the  West  the  Setting  Sun  is  just  alighting,  with  folding 
wings.  The  luminary,  which  in  the  morning  was  male,  to  repre- 
sent the  essentially  masculine  spirit,  the  upwardness  and  onward- 
ness  of  opening  day,  has  now  become  female  in  its  quality  of 
brooding  evening.  In  fact,  this  same  figure,  which  the  sculptor 
shows  in  the  Palace  of  Fine  Arts,  is  there  called  by  him  "Descend- 
ing Night." 

The  frieze  at  the  base  of  the  shaft  of  the  Setting  Sun  is  as 
difficult  to  interpret  as  the  other.  On  it  are  shown  the  Gentle 
Powers  of  Night.  Dusk  folds  in  her  cloak  Love,  Labor  and  Peace. 
Next  are  Illusions  borne  on  the  wings  of  Sleep,  then  the  Evening 
Mists,  followed  by  the  Star  Dance,  and  lastly,  Luna,  the  goddess  of 
the  Silver  Crescent.  Luna  may  be  recognized,  for  the  Silver  Cres- 
cent is  in  her  hand;  and,  with  the  sequence  I  have  just  given,  you 
may  recognize  the  others. 

The  figures  supporting  the  basins  and  the  creatures  in  the  pools 
of  each  fountain  are  merely  decorative.  The  play  of  water  in 
these  fountains  is  joyous  and  delightful.  The  purpose  of  a  foun- 
tain is  well  and  adequately  fulfilled. 

There  now  remain  the  seven  fountains  of  the  lesser  courts,  con- 
nected more  or  less  intimately  in  theme  with  their  immediate 
surroundings. 

IN  THE  COURT  OF  SEASONS.— Four  are  in  the  Court  of  Sea- 
sons, where  SPRING,  SUMMER,  AUTUMN  and  WINTER,  by  Furio 


FOUNTAIN  OF  EARTH  INTERPRETED  91 

Piccirilli,  have  each  its  own  alcove  in  the  wall  and  its  own  play  of 
water.  These  are  pleasant  fountains,  simple  and  quiet.  There  is 
some  feeling  of  lonely  mountain  cliffs  in  the  plain  walls  behind 
them,  hung  with  streamers  of  the  maidenhair  vine. 

In  the  first  alcove  stands  SPRING  with  her  flowers;  on  one  side 
the  man,  in  whom  love  awakens,  on  the  other  fresh  young  Flora, 
bringing  the  first  offerings  of  the  year.  Next  comes  the  alcove  of 
SUMMER,  the  time  of  fruition.  The  mother  brings  her  babe  to 
its  father,  the  laborer  bears  the  first  fruits  of  the  harvest.  (P.  94.) 

AUTUMN  follows,  the  time  of  harvest.  The  central  figure  of 
the  fountain  group  is  Providence.  The  fruits  of  the  year  are 
brought  in,  and  the  vintage  is  in  progress.  Last  of  all  comes 
WINTER,  the  melancholy  time  when  the  trees  are  bare  and  the 
bark  splits  with  the  frost.  The  central  figure  is  naked  Nature 
resting  in  the  period  of  conception.  On  one  side  is  bowed  an 
old  man,  after  preparing  the  ground  for  the  seed;  on  the  other 
is  a  strong  man  sowing.  This  is  perhaps  the  best  of  the  four 
fountain  groups.  It  expresses  admirably  the  bleakness  and  sad- 
ness of  the  season.  There  is  a  wintry  chill  about  it,  the  gloom  of 
a  dark  December  day.  Of  the  others,  Spring  is  most  likable,  with 
its  conception  of  the  seasonal  impulse  to  love;  and  Autumn,  for 
the  strength  of  its  figures  and  the  beauty  of  their  modeling. 

In  the  forecourt,  appropriately  placed  between  the  Palaces  of 
Agriculture  and  Food  Products,  stands  the  FOUNTAIN  OF  CERES. 
(P.  79.)  It  is  an  odd  fountain,  with  the  water  gushing  from  the 
mouths  of  satyrs  set  barely  above  the  level  of  the  ground,  as 
though  for  the  watering  of  small  animals.  Ceres  stands  above, 
with  a  wreath  of  cereals  and  a  scepter  of  corn.  The  frieze  pictures 
the  dance  of  joyous  nature. 

FOUNTAIN  OF  EARTH.— In  Mullgardt's  Court  of  Ages  is  the 
FOUNTAIN  OF  EARTH,  by  Robert  Aitken,  the  most  magnificently 
virile  of  all  the  Exposition  fountains,  conceived  of  a  powerful 
imagination  and  executed  in  strength  and  beauty.  (Pp.  70,  73.) 

The  sculpture  of  the  fountain  must  be  described  in  three  parts. 
Aitken's  own  interpretation  is  condensed  in  the  following  account. 
On  the  wall  of  the  parapet  at  the  foot  of  the  pool,  sixty  feet  from 
the  central  structure,  is  a  colossal  figure  symbolizing  Helios,  in 
his  arms  the  great  globe  of  the  setting  sun  after  it  has  thrown  off 
the  nebulous  mass  that  subsequently  became  the  earth.  The  whole 
expresses  primitive  man's  idea  of  the  splashing  of  the  sun  into  the 
water  as  it  sets. 

On  the  side  of  the  central  structure  toward  the  figure  of  Helios, 
and  leading  up  to  the  Earth,  are  two  groups,  each  of  five  crouch- 
ing figures,  and  divided  by  a  conventional  plane.  At  the  outer 


92  THE  JEWEL  CITY 

extremity,  Destiny,  in  the  shape  of  two  enormous  hands  and  arms, 
gives  life  with  one  and  takes  it  with  the  other.  The  five  figures 
on  the  left  side  represent  the  Dawn  of  Life,  those  on  the  right,  the 
Fullness  and  End  of  Existence.  The  first  group  begins  with  a 
woman  asleep,  just  from  the  hand  of  Destiny;  while  the  succeed- 
ing figures  symbolize  the  Awakening,  the  Joy  of  Being,  finally, 
the  Kiss  of  Life,  with  the  human  pair  offering  their  children,  rep- 
resenting the  beginnings  of  fecundity. 

On  the  east  side,  a  figure  of  Greed  looks  back  on  the  earth, 
the  mass  in  his  hands  suggesting  the  futility  of  worldly  posses- 
sions. Next  is  a  group  of  Faith,  wherein  a  patriarch  holds  forth 
to  the  woman  the  hope  of  immortality,  with  a  scarab,  ancient 
symbol  of  renewed  life.  Then  comes  a  man  of  Sorrow,  as  the 
woman  with  him  falls  into  her  last  Slumber.  These  are  about  to 
be  drawn  into  oblivion  by  the  relentless  hand  of  Destiny.  The 
gap, between  these  groups  and  the  main  structure  of  the  fountain 
typifies  the  unknown  time  between  the  beginning  of  things  and 
the  dawn  of  history. 

Each  of  the  four  panels  in  pierced  relief  surrounding  the  globe 
of  the  Earth  tells  a  single  story,  with  the  exception  of  the  first, 
which  tells  three.  Traveling  to  the  left  around  the  globe,  we 
begin  with  the  figure  of  Vanity,  mirror  in  hand,  in  the  center  of 
the  first  panel,  as  the  symbol  of  worldly  motive.  Here,  too,  are 
primitive  man  and  woman,  bearing  their  burdens,  symbolized  by 
their  progeny,  into  the  unknown  future,  ready  to  meet  whatever 
be  the  call  of  earth.  The  woman  suggests  the  overwhelming  in- 
stincts of  motherhood. 

Passing  into  the  next  panel,  we  see  their  children,  now  grown, 
finding  themselves,  with  Natural  Selection.  The  man  in  the  center, 
splendid  in  physical  and  intellectual  perfection,  attracts  the 
women  on  either  hand,  while  two  other  men,  deserted  for  this 
finer  type,  display  anger  and  despair.  One  tries  to  hold  the  woman 
by  force,  the  other,  unable  to  comprehend,  turns  hopelessly  away. 

The  succeeding  panel  symbolizes  the  Survival  of  the  Fittest. 
Here  physical  strength  begins  to  play  its  part,  and  the  war  spirit 
awakens,  with  woman  as  its  cause.  The  chiefs  struggle  for  su- 
premacy, while  their  women  try  in  vain  to  separate  them. 

The  last  panel  portrays  the  Lesson  of  Life.  The  elders  offer 
to  hotheaded  youth  the  benefit  of  their  experience.  The  beautiful 
woman  in  the  center  draws  to  her  side  the  splendid  warrior, 
whose  mother  on  his  left  gives  her  affectionate  advice.  On  the 
right  of  the  panel,  a  father  restrains  a  wayward  and  jealous  youth 
who  has  been  rejected  by  the  female. 

Passing  again  into  the  first  panel  we  find  a  representation  of 


PORTAL  BETWEEN  THE  COURTS  OF  PALMS  AND  SEASONS,  framing  a  glimpse 
of  the  former  court  and  its  colonnade,  with  one  of  its  Italian  towers. 

(  P.  93  ) 


FOUNTAIN  OF  SUMMER,  in  the  Court  of  Seasons,  Furio  Piccirilli,  sculptor.  The 
group  above  the  fountain  represents  the  bringing  of  the  first  fruits— the  mother 
offering  her  babe  to  its  father,  the  laborer  tendering  the  yield  of  the  fields. 


(  P.  94  ) 


"BEAUTY  AND  THE  BEAST"  95 

Lust, — a  man  struggling  to  embrace  a  woman,  who  shrinks  from 
his  caresses.  Thus  the  circle  is  complete;  these  last  two  figures, 
though  in  the  first  panel,  are  separated  from  those  first  described 
by  decorations  on  the  upper  and  lower  borders. 

Framing  the  panels,  while  also  indicating  the  separation  in 
time  of  their  stories,  stand  archaic  figures  of  Hermes,  such  as 
the  ancients  employed  to  mark  distances  on  the  roads.  Their 
outstretched  hands  hold  up  the  beginnings  of  life  in  the  form  of 
rude  primeval  beasts,  from  whose  mouths  issue  the  jets  of  the 
fountain. 

At  night  this  fountain  glows  deep  red,  from  lamps  concealed 
within  the  panels,  while  clouds  of  rosy  steam  rising  around  the 
globe  create  an  illusion  of  a  world  in  the  making. 

The  FOUNTAIN  OF  BEAUTY  AND  THE  BEAST  was  originally 
intended  for  the  Court  of  Palms,  which  was  conceived  as  the 
Court  of  Occidental  Fairy  Tales,  just  as  the  Court  of  Flowers  was 
to  have  been  that  of  Oriental  Fairy  Tales.  Mrs.  Whitney's  foun- 
tain of  the  Arabian  Nights,  a  creation  of  whimsical  beauty,  was 
to  have  stood  in  the  latter  court.  It  was  modeled,  but  was  never 
enlarged;  and  its  place  was  taken  by  BEAUTY  AND  THE  BEAST, 
the  work  of  Edgar  Walter.  (P.  100.) 

This  is  another  harmonious  fountain,  rightly  conceived,  so 
that  its  sculpture  does  not  overbalance  its  use  in  the  play  of  water, 
and  admirably  in  tune  with  the  flowery  grace  of  the  court.  Beauty, 
pouring  water  from  a  Greek  amphora,  sits  lightly  upon  the  ugly 
Beast.  Why  she  wears  a  smart  Paris  hat  no  one  has  discovered. 
Four  cheery  pipers,  lively  as  crickets  in  the  sun,  support  the 
upper  bowl.  Around  the  lower  basin  is  a  frieze  in  low  relief, 
figuring  Hanuman,  the  King  of  Monkeys,  leading  a  bear  with  one 
hand  and  prodding  a  lion  with  the  other.  All  this  is  part  of  the 
original  fairy-tale  significance  of  the  court. 

The  fountains  are  of  the  glories  of  the  Exposition.  There  is 
always  charm  in  the  movement  of  the  waters,  rest  in  their  music. 
The  appeal  is  elemental,  and  therefore,  universal.  Artificial  jets 
can  never  equal  the  play  of  water  in  Nature,  but  when  adorned 
with  harmonious  sculpture,  as  here,  they  become  that  significant 
and  satisfying  imitation  which  is  Art. 


XI. 
THE  PALACE  OF  MACHINERY 

A  vast  rectangular  hall,  saved  by  Ward's  successful  architecture 
from  being  a  huge  barn — Modeled  on  the  Roman  Baths  of 
Caracalla — Patigian's  finely  decorative  sculptures,  symbolizing 
the  mechanical  forces  and  labor — Beauty  of  the  interior — A 
Cathedral  of  Dynamics. 

MIGHTY  hall  is  the  PALACE  OF  MACHINERY. 
(See  pp.  105,  106.)  Beachey  flew  in  it.  The  Olympic 
might  rest  in  its  center  aisle  with  clear  space  at  both 
bow  and  stern,  and  room  in  the  side  aisles  for  two 
ocean  greyhounds  as  large  as  the  Mauretania.  Vast- 
ness  is  the  note  of  the  architecture  which  Clarence  Ward  has 
employed  to  give  body  to  this  enormous  space.  It  is  an  archi- 
tecture of  straight  lines  in  all  the  outer  structure,  lending  itself 
admirably  to  the  expression  of  enormous  proportions.  In  general 
ground  plans  the  palace  is  a  simple  rectangular  hall.  Think, 
then,  of  the  task  the  architect  had  before  him  to  avoid  making 
the  palace  a  huge  barn.  His  work  succeeded,  as  any  great  work 
succeeds,  because  he  used  simple  means. 

First  of  all,  a  Roman  model  was  well  chosen  for  so  vast  a 
building.  The  Greeks  built  no  large  roofed  structures.  Their  great 
assemblages  were  held  in  open-air  theaters  and  stadia.  The  Greek 
masterpiece,  the  incomparable  Parthenon  at  Athens,  was  consid- 
erably smaller  than  Oregon's  timbered  imitation  at  the  Exposition. 
On  the  other  hand,  the  solid  Roman  style  lends  itself  to  bulk. 
The  models  followed  in  the  Machinery  Palace  were  the  Roman 
Baths,  particularly  the  Baths  of  Caracalla.  They  have  been  used 
once  before  as  a  model  in  this  country,  in  the  building  of  the 
Pennsylvania  Railway  station  in  New  York.  There,  too,  travertine 
was  first  successfully  imitated  by  Paul  Deniville.  Looking  at  the 
Palace  of  Machinery,  indeed,  it  is  not  difficult  to  imagine  it  as 
the  noble  metropolitan  terminal  of  a  great  railway  system.  It 
would  hold  many  long  passenger  trains,  and  an  army  of  travelers. 
The  distinctive  feature  of  the  perspective  is  the  triple  gable 
at  the  ends  of  the  palace  and  over  the  great  main  entrance.  By 
thus  breaking  up  the  long  roof  lines,  as  well  as  by  lowering  the 
flanks  of  the  building  to  flat-roofed  wings,  a  barn-like  effect  was 
avoided.  In  the  triple  gables,  also,  the  three  central  aisles  which 
distinguish  the  interior  show  in  the  outer  structure.  Under  the 
gables  the  huge  clerestory  windows  above  the  entrances  relieve 


A  NOBLE  VESTIBULE  97 

the  great  expanse  of  the  end  walls.  Similar  windows  open  up  the 
walls  above  the  flat-topped  wings.  In  the  main  entrance,  the 
gables  are  deepened  to  form  a  huge  triple  vestibule  where  the  row 
of  columns  is  repeated.  The  long  side  walls  are  relieved  by  pairs 
of  decorated  columns  flanking  the  minor  entrances. 

Thus,  by  entirely  simple  devices,  the  long  lines  and  vast  ex- 
panses of  wall  are  deprived  of  monotony.  The  architect  has  given 
majesty  to  the  palace,  not  merely  a  majesty  of  hugeness,  but  of 
just  proportions  and  dignified  simplicity.  In  the  general  archi- 
tectural scheme  of  the  Exposition  it  forms  one  end  of  the  main 
group  of  palaces,  at  the  other  end  of  which  is  set  the  Palace  of 
Fine  Arts.  Machinery  Hall,  with  its  severe  massiveness  and  solidity, 
is  a  balance  to  the  poetry  and  spirituality  of  the  Fine  Arts. 

The  main  entrance  is  on  the  west  side,  looking  down  the 
avenue  between  the  Palaces  of  Mines  and  Varied  Industries.  Per- 
haps it  is  better,  though,  to  take  a  first  view  of  the  sculptural 
decoration  at  the  entrance  at  either  the  north  or  the  south  end, 
where  almost  everything  is  shown  that  appears  in  the  more  com- 
plicated main  vestibule. 

The  three  clerestory  windows  make  three  arches  with  four 
piers.  In  front  of  each  pier  stands  a  great  Sienna  column  crowned 
with  one  of  four  symbolic  figures,  each,  in  the  strength  of  the 
male,  emblematic  of  force.  First  on  the  left  is  "Electricity,"  grasp- 
ing the  thunderbolt,  and  standing  with  one  foot  on  the  earth,  sig- 
nifying that  electricity  is  not  only  in  the  earth  but  around  it.  The 
man  with  the  lever  that  starts  an  engine  represents  "Steam  Power." 
"Imagination,"  the  power  which  conceives  the  thing  "Invention" 
bodies  forth,  stands  with  eyes  closed;  its  force  comes  from  within. 
Wings  on  his  head  suggest  the  speed  of  thought.  At  his  feet  is 
the  Eagle  of  Inspiration.  "Invention"  bears  in  his  hand  a  winged 
figure, — Thought,  about  to  rise  in  concrete  form. 

The  eagle  appears  as  a  symbol  of  the  United  States,  on  the 
entablature  carried  across  the  opening  below  the  arch  on  two 
Corinthian  columns  in  each  embrasure.  The  lower  third  of  each 
of  these  shafts  is  decorated  with  a  cylindrical  relief  representing 
the  genii  of  machinery,  flanked  by  human  toilers  and  types  of 
machines.  The  genii  are  blind,  as  the  forces  developed  by  ma- 
chines are  blind.  There  are  only  two  of  these  cylindrical  friezes, 
but  they  are  repeated  many  times  on  the  columns  at  either  end 
and  at  the  main  entrance,  and  on  the  pairs  of  columns  that  flank 
the  minor  openings  in  the  western  wall. 

Over  the  main  entrance  the  gable  is  extended  to  enclose  a 
majestic  triple  vestibule,  backed  by  the  same  effect  that  appears 
at  the  palace  ends,  but  with  the  entablature  and  its  supporting 


98  THE  JEWEL  CITY 

columns  repeated  across  the  outer  arches.  (P.  111.)  With  the 
exception  of  the  spandrels  on  the  transverse  arches,  the  sculptural 
decoration  here  is  the  same  as  that  described  for  the  end  entrances, 
though  more  often  repeated.  The  spandrels  represent  the  appli- 
cation of  power  to  machines.  All  this  decoration  is  the  work  of 
Haig  Patigian,  of  San  Francisco. 

Before  the  main  entrance  stands  the  only  example,  in  the  Ex- 
position sculpture,  of  the  work  of  the  dean  of  American  sculptors, 
Daniel  Chester  French.  This  is  his  noteworthy  group,  the  GENIUS 
OF  CREATION.  (P.  147.)  Other  statues  by  French  will  be  found 
among  the  exhibits  of  the  Fine  Arts  Palace.  The  Genius  of  Crea- 
tion was  placed  here  at  the  last  moment.  It  had  been  intended 
for  the  Court  of  the  Universe,  while  Douglas  Tilden's  group  of 
"Modern  Civilization"  was  to  have  stood  before  the  Palace  of 
Machinery.  When  this  was  not  completed,  the  Exposition  wisely 
decided  that  the  great  court  already  had  enough  statuary,  and 
ordered  French's  group  erected  in  its  place. 

According  to  French  himself,  this  group  might  well  have  been 
called  "The  Angel  of  Generation."  The  winged  figure,  neither 
male  nor  female,  but  angelic,  is  veiled,  suggesting  the  creative  im- 
pulse as  a  blind  command  from  unknown  sources.  The  arms  are 
raised  in  a  gesture  of  creative  command.  It  has  wings,  said 
French,  because  both  art  and  the  conception  demanded  these 
spiritual  symbols.  The  man  and  woman  against  the  rock  whereon 
the  angel  sits  are  emblems  of  the  highest  types  created.  The  man 
looks  upward  and  outward  with  one  hand  clenched,  ready  to 
grapple  with  life.  The  woman  reaches  out  for  sympathy  and  sup- 
port; her  fingers  find  this  in  the  hand  of  the  man  at  the  back  of 
the  rock.  Man  and  woman  are  encircled  by  the  snake,  the  earliest 
symbol  of  eternity  and  reproduction,  a  figure  appearing,  curiously 
enough,  in  every  religion,  and  with  much  the  same  significance. 

Without  ignoring  the  majesty  of  the  exterior,  glowing  with 
color  and  adorned  with  statuary,  it  may  be  said  that  the  real 
nobility  of  this  great  structure  appears  in  the  splendid  timber 
work  of  the  interior.  Here,  where  every  bone  and  rib  of  the  huge 
hall  stands  bare  as  the  builders  left  it,  is  a  note  of  true  grandeur. 
The  long  rows  of  great  timbered  columns,  the  lofty  arches  that 
spring  from  them,  the  almost  endless  vista  of  truss  and  girder, 
tell  of  vastness  that  cannot  be  expressed  by  the  finished  archi- 
tecture outside.  The  finest  character  of  the  palace  is  within. 
From  the  outside  it  is  a  great  and  well-proportioned  hall.  Within 
it  becomes  a  vast  cathedral,  dedicated  to  the  mighty  spirit  of 
Dynamics. 


XII. 

THE  PALACE  OF  FINE  ARTS  AND  :JJ$- EXHIBIT,-  -   . 
WITH  THE  AWARDS 

A  memorable  demonstration  of  the  value  of  landscape  to  archi- 
tecture— Simplicity  the  foundation  of  Maybeck's  achievement 
— The  Colonnade  and  Rotunda — Altar,  Friezes  and  Murals — 
Equestrian  statue  of  Lafayette — Night  views — The  Palace 
should  be  made  permanent  in  Golden  Gate  Park — The  Fine 
Arts  Exhibit — Its  contemporaneous  character  and  great 
general  merit — American  art  well  shown — The  foreign  collec- 
tions— Sweden's  characteristically  national  art — Exhibits  of 
France,  Italy,  Holland,  Argentina,  and  other  countries — Japan 
and  China  exhibit  ancient  as  well  as  modern  art — The  Annex 
—Work  of  the  Futurists — Notable  sculptures  in  the  Colonnade 
— Grand  Prizes,  Medals  of  Honor  and  Gold  Medals  Awarded. 


F  EVERYTHING  else  in  the  beautiful  architecture  of 
the  Exposition  were  forgotten,  the  memory  of  the  PAL- 
ACE OF  FINE  ARTS  would  remain.  It  should  be  a  source 
of  pride  to  every  Californian  that  this  incomparable 
building  is  the  work  of  a  Californian,  and  a  source  of 
deep  satisfaction  to  the  architect  himself  that  it  so  completely 
points  the  lesson  which  he  intended  it  to  convey.  For  the  Palace  of 
Fine  Arts  is  a  sermon  in  itself.  In  it  old  Roman  models  have  been 
used  to  elaborate  a  California  text.  Its  structure  and  setting  are  the 
demonstration  of  a  theorem, — the  finished  word  of  the  preachment 
of  a  lifetime.  The  Exposition  gave  the  preacher  his  opportunity. 
Bernard  Maybeck,  the  Berkeley  architect,  had  long  been  telling 
California  that  architecture  here,  to  be  beautiful,  needed  only  to 
be  an  effective  background  for  landscape.  His  theory  is  that  as 
trees  and  plants  grow  so  easily  and  so  quickly  here,  Californians 
are  wasting  their  finest  source  of  beauty  if  they  do  not  combine 
landscape  with  building. 

When  Maybeck  was  called  upon  to  design  a  palace  of  fine  arts 
at  the  Exposition,  one  fact  enabled  him  to  exemplify  his  theory  in 
the  finest  way.  The  old  Harbor  View  bog  was  found  to  have  a 
bottom  impervious  enough  to  hold  water,  and  the  trees  of  the 
demolished  resort  were  still  standing.  When  the  mud  was  scooped 
out,  a  lake  was  left.  That  gave  not  only  growing  trees,  in  addition 
to  the  resources  of  the  Exposition's  forestry,  but  also  a  real  sheet 
of  water,  for  the  landscape.  (See  p.  112.) 

Maybeck  surprised  me  by  saying  that  there  is  nothing  specially 
remarkable  about  the  Palace  itself.  "What  is  it  the  people  like?" 


102  THE  JEWEL  CITY 

he  asked,  a*id  himself  replied,  "It  is  the  water  and  the  trees.'* 
^  Wh^a  I  reminded  him  of  the  beauty  of  the  colonnade  seen  from 
points  in-  9ie  .enclosed  passageway,  where  no  water  is  in  view,  he 
answered:  "The  public  was  bribed  to  like  that.  Leaving  off  the 
roof  between  the  colonnade  and  the  gallery  was  a  direct  bribe.  A 
few  other  simple  devices  give  the  effect  the  people  like.  One  of 
these  is  the  absence  of  windows  in  the  walls,  a  device  well  known 
to  the  old  Italians.  Others  are  the  water,  the  trees,  and  the  flower- 
covered  pergolas  on  the  roof." 

Maybeck's  modesty  is  genuine,  but  he  deserves  more  credit 
than  he  gives  himself.  I  quote  him  because  his  point  is  worth 
emphasizing.  The  highest  beauty  can  be  attained  by  simple  means. 
If  all  our  architects  could  see  that,  we  should  have  less  straining 
for  effect,  less  overdoneness,  and  more  harmony  and  significance 
in  our  buildings.  The  people  can  and  do  appreciate  this  kind  of 
beauty.  It  was  surely  inspiration  that  made  it  possible  for  Maybeck 
to  produce  this  masterpiece. 

Sweeping  in  a  great  arc  around  the  western  shore  of  the  lagoon, » 
the  Palace,  in  the  architect's  view,  is  merely  a  background  for  the 
water,  the  trees  and  the  plants  on  the  terraced  walls  and  pergolas. 
Certainly  it  is  a  beautiful  setting  to  a  beautiful  scene.  So  perfectly 
are  the  Palace  and  its  foreground  fitted  to  each  other  that  the 
structure  looks  as  though  it  might  have  stood  there  for  twenty 
centuries,  a  well-preserved  Roman  villa,  while  generations  of  trees 
grew,  and  decayed,  and  were  reproduced  around  its  base. 

The  great  detached  colonnade,  with  its  central  rotunda,  is  the 
climax  of  the  entire  structure.  It  is  backed  up  and  given  solidity 
/  by  the  walls  of  the  gallery  behind  it,  1,100  feet  long.  These  walls, 
unbroken  save  for  the  entrances,  are  relieved  and  beautified  by 
shrubbery  set  on  a  terrace  halfway  between  the  ground  and  the 
eaves.  (P.  113.)  At  the  extremities  of  the  double  colonnade,  and 
spaced  regularly  along  it,  are  groups  of  four  columns,  each 
crowned  with  a  great  box  designed  for  flowers  and  vines.  Unfor- 
tunately, the  architect's  plan  to  place  growing  plants  in  these 
receptacles  was  vetoed  because  of  the  cost.  The  weeping  women 
at  the  corners,  by  Ulric  Ellerhusen,  expressive  of  the  melancholy 
felt  on  leaving  a  great  art  collection,  were  intended  to  be  only  half 
seen  through  drooping  vines.  On  the  water  side  of  the  rotunda,  a 
novel  effect  of  inclusion  is  obtained  by  semi-circular  walls  of 
growing  mesembryanthemum. 

,  Around  the  entablature  of  the  noble  octagonal  rotunda  are 
repeated  Bruno  Louis  Zimm's  three  panels,  representing  "The 
Struggle  for  the  Beautiful."  (P.  114.)  In  one,  Art,  as  a  beautiful 
woman,  stands  in  the  center,  while  on  either  side  the  idealists 


AN  ALTAR  OF  INSPIRATION  103 

struggle  to  hold  back  the  materialists,  here  conceived  as  centaurs, 
who  would  trample  upon  Art.  In  another,  Bellerophon  is  about  to 
mount  Pegasus.  Orpheus  walks  ahead  with  his  lyre,  followed  by  a 
lion,  representing  the  brutish  beasts  over  whom  music  hath  power. 
Back  in  the  procession  come  Genius,  holding  aloft  the  lamp,  and 
another  figure  bearing  in  one  hand  the  pine  cones  of  immortality, 
in  the  other  a  carved  statue  which  she  holds  forward  as  a  lesson 
in  art  to  the  youth  before  her.  In  the  third  panel  appears  Apollo, 
god  of  all  the  arts,  in  the  midst  of  a  procession  of  his  devotees 
bearing  garlands.  Between  the  panels  are  repeated  alternately 
male  and  female  figures,  symbolizing  those  who  battle  for  the  arts. 
•  On  an  altar  before  the  rotunda,  overlooking  the  lagoon,  kneels 
Robert  Stackpole's  figure  of  Venus,  representing  the  Beautiful,  to 
whom  all  art  is  servant.  The  panel  in  front  of  the  altar  is  by 
Bruno  Louis  Zimm,  and  pictures  Genius,  the  source  of  Inspiration. 
Unfortunately,  this  fine  altar  has  been  made  inaccessible;  it  can  be 
seen  only  from  across  the  lagoon.  (P.  137.)  The  friezes  decorating 
the  huge  circular  flower  receptacles  set  around  the  base  of  the 
rotunda  and  at  intervals  in  the  colonnade  are  by  Ellerhusen.  Eight 
times  repeated  on  the  lofty  columns  within  the  rotunda  is  "The 
Priestess  of  Culture,"  a  conventional  but  pleasing  sculpture  by 
Herbert  Adams. 

.Above,  in  the  dome,  Robert  Reid's  eight  murals,  splendid  in 
color,  are  too  far  away  to  be  seen  well  as  pictures.  Two  separate 
series  are  alternated,  one  symbolizing  the  Progress  of  Art,  the 
other  depicting  the  Four  Golds  of  California.  The  panel  in  the 
east,  nearest  the  altar,  is  "The  Birth  of  European  Art.'*  The  sacred 
fire  burns  on  an  altar,  beside  which  stands  the  guardian  holding 
out  the  torch  of  inspiration  to  an  earthly  messenger  who  leans 
from  his  chariot  to  receive  it.  On  the  right  is  the  Orange  panel, 
representing  one  of  the  California  golds. 

"Inspiration  in  All  Art"  comes  next.  The  veil  of  darkness, 
drawn  back,  reveals  the  arts :  Music,  Painting,  Poetry,  and  Sculp- 
ture. A  winged  figure  bears  the  torch  of  inspiration.  The  second 
of  the  California  golds,  the  Wheat  panel,  follows,  and  then  "The 
Birth  of  Oriental  Art."  The  allegory  here  is  the  ancient  Ming 
legend  of  the  forces  of  earth  trying  to  wrest  inspiration  from  the 
powers  of  air.  A  Chinese  warrior  mounted  on  a  dragon  struggles 
with  an  eagle. 

Gold,  the  yellow  metal,  is  the  subject  of  the  next  panel,  followed 
by  "Ideals  in  Art."  In  this  appear  concrete  symbols  of  the  chief 
motives  of  art,  the  classic  nude  of  the  Greeks,  the  Madonna  and 
Child  of  Religion,  Joan  of  Arc  for  Heroism,  Youth  and  Material 
Beauty  represented  by  a  young  woman,  and  Absolute  Nature  by 


104  THE  JEWEL  CITY 

the  peacock.  A  mystic  figure  in  the  background  holds  the  cruse 
wherewith  to  feed  the  sacred  flame.  A  winged  figure  bears  laurels 
for  the  living,  while  the  shadowy  one  in  the  center  holds  the  palm 
for  the  dead.  Last  of  all  comes  the  Poppy  panel,  representing  the 
fourth  gold  of  California. 

t  "The  entire  scheme — the  conception  and  birth  of  Art,  its  com- 
mitment to  the  earth,  its  progress  and  acceptance  by  the  human 
intellect, — is  expressed  in  the  four  major  panels.  They  are  lighted 
from  below  by  a  brilliant  flood  of  golden  light,  the  sunshine  of 
California,  and  reach  up  into  the  intense  blue  of  the  California 
skies."  This,  as  well  as  much  of  the  interpretation  of  the  eight 
pictures,  is  drawn  from  Reid's  own  account. 

Within  the  rotunda  has  been  installed  Paul  Wayland  Bartlett's 
spirited  equestrian  statue  of  Lafayette.  This  is  a  replica  of  the 
original  work,  which  was  presented  to  the  French  Government  by 
the  school  children  of  the  United  States,  and  stands  in  the  gardens 
of  the  Louvre.  Other  notable  statues  here  are  Karl  Bitter'js,  Thomas 
Jefferson,  John  J.  Boyle's  Commodore  Barry,  Herb'ert  Adams's 
Bryant,  and  Robert  T.  McKenzie's  charming  figure  of  "The  Young 
Franklin."  Outside  the  rotunda,  facing  the  main  entrance  to  the 
gallery,  is  "The  Pioneer  Mother,"  Charles  Grafly,  sculptor.  Over 
the  entrance  is  Leo  Lentelli's  "Aspiration." 

Beautiful  as  is  the  Palace  of  Fine  Arts  by  day,  it  is  even  more 
lovely  at  night.  (P.  137.)  Either  by  moonlight  or  under  the  gentle 
flood  of  illumination  that  rests  softly  upon  it  when  the  heavens 
are  dark,  it  is  wonderful.  There  is  so  much  of  perfection  in  the 
building,  and  it  is  so  well  placed,  that  it  needs  no  special  condi- 
tions to  be  at  its  best.  Nor  is  any  particular  viewpoint  necessary. 
Stand  where  you  will  around  this  structure,  or  on  the  opposite 
margin  of  the  lagoon,  and  each  position  gives  you  a  different 
grouping  of  columns  and  dome  and  wall,  a  different  setting  of 
trees  and  water.  The  form  of  the  Palace  is  responsible  for  this. 
Roughly  speaking,  a  rectangular  structure  presents  but  four  views. 
But  the  great  arc  of  the  Fine  Arts,  with  its  detached  colonnade 
following  the  same  curve  on  either  side  of  the  rotunda,  is  not  so 
restricted.  Every  new  point  of  view  discloses  new  beauty.  The 
breadth  of  the  lagoon  before  it  guarantees  a  proper  perspective. 
It  is  impossible  not  to  see  it  aright. 

An  excellent  test  of  the  quality  of  all  such  temporary  structures 
is  the  satisfaction  with  which  one  thinks  of  them  as  permanent 
buildings.  No  other  of  the  palaces  would  wear  so  well  in  its 
beauty  if  it  were  set  up  for  the  joy  of  future  generations.  It  would 
be  a  glorious  thing  for  San  Francisco  if  the  Fine  Arts  Palace  could 
be  made  permanent  in  Golden  Gate  Park.  To  duplicate  it  in  last- 


EXHIBITS  IN  PALACE  OF  FINE  ARTS  107 

ing  materials  would  cost  much,  but  it  would  be  worth  while.  San 
Francisco  owes  it  to  itself  and  its  love  for  art  to  see  that  this 
greatest  of  Western  works  of  art  does  not  pass  away.  As  it  stands 
on  the  Exposition  grounds,  it  is  more  enduring  than  any  of  the 
other  palaces.  To  induce  the  loan  of  its  priceless  contents,  the 
building  had  to  be  fireproof.  But  the  construction  is  not  perma- 
nent. The  splendid  colonnade,  a  thing  of  exquisite  and  manifold 
beauty,  is  only  plaster,  and  can  last  but  a  season  or  two.  Even 
were  the  building  solid  enough  to  endure,  its  location  is  impossible 
after  the  Exposition  closes. 

It  should  be  duplicated  in  permanent  form.  No  doubt  a  proper 
site,  with  a  setting  of  water  and  trees,  can  best  be  found  in  Golden 
Gate  Park.  The  steel  frame  and  roof  of  the  main  gallery  could 
easily  be  transferred  there  and  set  up  again.  While  it  would  cost 
too  much  to  duplicate  in  real  marble  the  pillars  of  the  colonnade 
and  dome,  yet  these  can  be  reproduced  in  artificial  stone  as  suc- 
cessfully as  they  have  here  been  imitated  in  plaster.  In  the 
Pennsylvania  Railroad  station  in  New  York,  travertine  has  been 
counterfeited  so  well  that  no  one  can  tell  where  the  real  ends  and 
the  imitation  begins. 

Every  other  considerable  city  in  the  civilized  world  has  its  art 
gallery.  San  Francisco  has  already  the  full-sized  model  of  surely 
the  most  beautiful  one  in  the  world.  Made  permanent  in  the  Park, 
this  Palace  of  Art  would  not  only  honor  San  Francisco,  but  would 
be  "a  joy  forever"  to  all  America. 

THE  FINE  ARTS  EXHIBIT.*— The  Palace  of  Fine  Arts  contains 
what  the  International  Jury  declares  the  best  and  most  important 
collection  of  modern  art  that  has  yet  been  assembled  in  America. 
The  war  in  Europe  had  a  two-fold  effect  on  this  exhibition.  While 
it  prevented  some  countries,  like  Russia  and  Germany,  from  send- 
ing their  paintings  and  sculptures,  it  led  others,  such  as  France 
and  Italy,  to  send  more  than  they  otherwise  would  have  sent.  The 
number  the  Exposition  might  have  was  limited  only  by  its  funds 
available  for  insurance.  So  many  were  the  works  of  art  sent  over  on 
the  Vega  and  the  Jason  that  an  Annex  was  required  to  house  them. 

It  must  be  remembered  that  this  art  exhibit,  like  the  other 
exhibits  of  the  Exposition,  is  contemporaneous.  It  represents, 
with  exceptions,  the  work  of  the  last  decade.  Most  of  the  excep- 
tions are  in  the  rooms  of  the  Historical  Section,  the  Abbey,  Sar- 
gent, Whistler,  Keith,  and  other  loan  collections,  and  the  great 
Chinese  exhibit  of  ancient  paintings  on  silk.  In  general,  the  paint- 
ings and  sculptures  made  famous  by  time  are  not  in  the  Fine  Arts 
Palace.  Its  rooms  are  mainly  filled  with  the  latest  work  of  artists 


*For  plan  of  rooms  and  national  sections  in  the  Palace  of  Fine  Arts,  see 
map   on  page   8. 


108  THE  JEWEL  CITY 

of  the  day,  exhibited  under  the  Exposition's  rule  which  limits 
competition  in  all  departments  to  current  production.  This  ex- 
plains, for  instance,  why  the  French  Government  has  placed  its 
Meissoniers  and  Detailles,  with  Rodin's  bronzes,  in  the  French 
Pavilion.  A  Michelangelo,  works  of  Benvenuto  Cellini,  and  many 
old  paintings  and  statues  are  in  the  beautiful  Italian  Pavilion. 
Other  paintings  of  value  are  in  the  Belgian  section  of  the  French 
Pavilion,  and  in  the  Danish  Pavilion. 

This  limitation  of  the  Fine  Arts  exhibit  has  made  room  for  a 
great  representation  of  the  men  of  today.  The  Palace  contains  a 
multitude  of  splendid  pictures.  While  of  course,  as  in  all  such 
collections,  there  is  some  inferior  work,  the  most  pertinent  criti- 
cism is  that  there  are  too  many  really  notable  things,  and  the  scope 
of  the  collection  is  too  broad,  to  be  seen  with  due  appreciation  in 
a  limited  time.  There  is  so  liberal  a  showing  of  different  schools, 
styles  and  lands,  that  one  is  liable  at  first  to  be  bewildered.  But 
the  exhibit  is  most  popular.  The  great  number  of  visitors  con- 
stantly thronging  the  galleries  is  significant  of  the  value  the  people 
put  upon  art.  Excellent  as  the  collection  is  as  a  school  for  artists, 
it  was  made  for  popular  enjoyment  and  education.  The  best  result 
to  be  looked  for  is  its  stimulation  and  culture  of  the  public  taste. 
The  people  are  already  in  love  with  it,  and  what  they  love  they 
make  their  own. 

The  exhibits  are  arranged  in  fifteen  sections,  consisting  of 
national,  sectional,  or  personal,  collections  of  paintings,  besides 
many  important  displays  of  miniatures,  etchings,  prints,  drawings, 
and  tapestries.  The  art  of  the  sculptor  is  abundantly  illustrated 
in  grouped  statuary,  single  pieces,  panels  in  low  or  high  relief, 
and  wood  carvings.  Passing  the  heroic  emblems  of  history  or 
allegory  in  marble,  bronze  or  plaster,  nothing  is  more  beautiful  or 
appealing  than  the  hundreds  of  small  bronzes  shown.  In  brief, 
the  Fine  Arts  exhibit  embraces  all  the  classifications  of  modern 
art,  save  the  "arts  and  crafts"  exhibits,  which  are  scattered  among 
the  several  exhibit  palaces. 

First  in  importance  to  a  citizen  of  this  country  is  the  art  of 
the  United  States.  Possibly  it  may  also  be  of  first  importance  to 
foreign  visitors.  For  the  phrase  "American  art"  no  longer  raises 
a  doubt.  It  is  at  last  recognized  that  America  has  something  of  its 
own  to  offer  the  world, — a  style  developed  within  the  last  two 
decades.  The  prime  movement  of  the  times  presenting  boldness, 
brilliance  and  a  laxity  of  detail  in  portrayal,  the  art  of  America, 
as  shown  in  this  exhibition,  embodies  these  characteristics  without 
emphasizing  them.  Keeping  in  mind  the  fact  that  the  Palace  con- 
tains little  American  art  earlier  than  1905,  American  artists  are 


VALUE  OF  AMERICAN  ART  109 

showing  marked  individualities,  even  in  their  acceptance  of 
popular  precepts.  The  virile  men  of  the  day  love  luminosity;  it 
dominates  all  else,  and  marks  their  canvases  with  light;  they 
restrain  the  too  bold  stroke  of  the  radical  Impressionist,  but  out- 
line with  firmness,  so  that  details  are  more  easily  imagined  by  the 
observer,  even  when  an  expected  delineation  is  absent.  Even  the 
older  men,  though  still  under  the  influence  of  earlier  tradition, 
show  a  distinctiveness  of  style  that  sets  them  well  apart  from  their 
English,  French  or  German  contemporaries. 

The  International  Section,  in  Room  108  and  in  the  Annex,  is 
peculiarly  interesting  in  that  it  makes  easy  a  comparison  of  the 
characteristic  fingerprints  of  each  country  represented.  There 
is  ample  opportunity  here  for  a  discriminating  and  profitable 
study.  Unfortunately,  because  of  the  war,  the  gallery  contains  no 
special  rooms  for  the  art  of  England  and  Germany.  Both  countries 
are  represented  only  by  loan  collections.  Of  German  art  there  are 
forty  well  chosen  paintings. 

France,  Italy,  Holland,  Sweden,  Portugal,  Japan,  China  and 
several  of  the  South  American  countries  have  installed  represen- 
tative collections  in  the  Palace;  while  the  Annex,  made  necessary 
by  the  unexpected  number  of  pictures  from  Europe,  contains  a 
large  exhibit  of  Hungarian  art,  a  Norwegian  display,  filling  seven 
rooms,  a  large  British  exhibit,  and  a  small  group  of  pictures  by 
Spanish  painters,  showing  that  the  influence  of  Velasquez  is  still 
powerful  in  Spanish  art.  The  Norwegian  display  is  one  of  the 
largest  foreign  sections,  quite  as  characteristic  as  the  Swedish, 
and  certain  to  arouse  discussion  because  of  its  extreme  mod- 
ernism. The  ultra-radical  art  of  Edvard  Munch,  who  is  called  the 
greatest  of  Norwegian  painters,  and  to  whom  a  special  room  is 
assigned,  is  sure  to  be  a  bone  of  contention  among  the  critics. 
The  work  of  Harald  Sohlberg  (medal  of  honor)  and  Halfdan  Strom 
(gold  medal),  differing  widely  from  Munch's,  though  hardly  less 
modern  in  style,  will  also  attract  much  attention.  The  omission  of 
Munch  from  the  honor  list  is  really  a  tribute  to  his  eminence.  An 
artist  who  has  won  the  Grand  Prix  at  Rome  and  awards  in  every 
other  European  capital  was  deemed  outside  of  competition  here. 

Axel  Gallen-Kallela,  the  celebrated  Finnish  painter,  winner  of 
the  Exposition's  medal  of  honor,  fills  another  room  in  the  Annex. 
This  room,  covering  adequately  Gallen's  progress  through  twenty- 
five  years,  is  the  only  one  in  the  Exposition  to  illustrate  the  devel- 
opment of  a  great  painter  from  his  student  days.  The  collection 
runs  from  his  earliest  academic  work,  photographic  in  its  care  for 
detail,  to  his  present  mastery  of  Impressionism,  wherein  by  a  few 
strokes  he  expresses  all  the  essentials. 


110  THE  JEWEL  CITY 

The  Italian  Futurists  are  well  shown  in  the  Annex,  and  for  the 
first  time  in  this  country.  The  Futurist  pictures  hitherto  seen  in 
America  have  been  French  imitations  of  the  Italian  originators  of 
the  mode.  A  sample  Futurist  title,  "Architectural  Construction  of 
a  Woman  on  the  Beach,"  may  or  may  not  indicate  what  these 
pictures  reveal.  The  Annex,  too,  has  a  splendid  exhibit  of  the 
etchings  of  Frank  Brangwyn,  the  great  Englishman,  who  is  no 
less  renowned  as  an  etcher  than  as  a  painter,  and  who  has  won 
the  Exposition's  medal  of  honor  in  the  International  Section. 

The  arrangement  of  the  rooms  in  the  Fine  Arts  Gallery  becomes 
simple  enough  when  the  key  is  supplied.  The  United  States  sec- 
tion is  in  the  center,  and,  with  the  historical  rooms,  occupies, 
roughly,  half  the  space,  flanked  by  the  foreign  rooms  at  either  end 
of  the  building.  Four  rooms  of  the  United  States  section  are  sep- 
arated from  the  rest  and  form  a  narrow  strip  across  the  extreme 
north  end  of  the  gallery.  The  prints,  drawings,  miniatures,  and 
medals  are  installed  in  rooms  forming  a  strip  along  the  west  wall 
of  the  building. 

The  United  States  section  is  opened  by  a  central  hall  opposite 
the  main  entrance,  and  by  a  corridor  extending  on  either  side 
through  to  the  foreign  sections.  The  central  hall  is  chiefly  devoted 
to  sculpture,  including  Karl  Bitter's  strong  and  characteristic 
group,  "The  Signing  of  the  Louisiana  Purchase  Treaty,"  Daniel 
Chester  French's  "Alice  Freeman  Palmer  Memorial,"  both  winners 
of  the  medal  of  honor,  Gertrude  Vanderbilt  Whitney's  fine  central 
fountain,  and  other  important  work.  The  walls  are  hung  with 
ancient  tapestries  of  great  interest,  and  paintings,  mostly  decora- 
tive, though  Robert  Vonnoh's  "Poppies"  and  Ben  Ali  Haggin's 
"Little  White  Dancer"  are  admirable.  Vonnoh  won  a  gold  medal. 

HISTORICAL  SECTION.— South  of  the  United  States  section,  a 
block  of  ten  rooms,  with  Room  54  at  the  southwest  angle  of  the 
central  hall,  is  devoted  to  painters  who  either  have  influenced 
American  art  or  represent  its  earlier  stages.  Room  91,  on  the  east 
side  of  the  block,  contains  old  Dutch,  Flemish,  French,  and  Italian 
pictures,  none  very  interesting,  though  Teniers,  Watteau  and  Tin- 
toretto are  represented.  Rooms  92,  62,  and  61,  constituting  the 
tier  next  to  the  Italian  section,  show  chiefly  examples  of  the 
French  painters,  including  those  of  the  Barbizon  school,  who  have 
influenced  later  American  painting.  Along  with  other  names  less 
known,  Room  92  displays  canvases  by  Daubigny,  Courbet,  Charles 
Le  Brun,  Meissonier,  Tissot,  Monticelli  and  Rousseau.  It  has  two 
Corots,  one  a  delight.  Room  62  is  even  more  important.  It  offers 
a  Millet,  far  from  typical;  a  capital  Schreyer,  two  portraits  by  the 
German  Von  Lenbach,  a  small  but  interesting  sample  of  Alma- 


VESTIBULE  OF  THE  PALACE  OF  MACHINERY.  The  sculpture  spandrels  over 
the  arches  anil  the  friezes  at  the  base  of  the  columns  are  by  Haig  Patigian, 
and  represent  the  application  of  power  to  machinery. 


(  P.  HI  ) 


DETAIL  OF  ROTUNDA,  Palace  of  Fine  Arts.  The  panels  of  the  frieze,  by  Bruno 
Louis  Zimm,  depict  the  struggle  for  the  ideal  in  art.  Within  the  Rotunda  is 
Paul.  Wayland  Bartlett's  equestrian  statue  of  Lafayette,  the  original  of  which 
was  given  to  France  by  the  school  children  of  America. 

(  P.  114  ) 


OLD  MASTERS  AND  MODERN  115 

Tadema's  finished  style,  and  the  sensational  "Consolatrix  Afflic- 
torum"  by  Dagnan-Bouveret.  Better  still,  in  Jules  Breton's  "The 
Vintage"  and  Troyon's  "Landscape  and  Cattle"  it  has  two  of  the 
noblest  paintings  to  be  seen  in  the  entire  Palace, — pictures  that 
show  these  great  masters  at  their  best. 

Room  61  is  mainly  devoted  to  the  early  Impressionists,  with 
seven  canvases  by  their  leader,  Claude  Monet,  and  other  land- 
scapes by  Renoir,  Pissaro  and  Sisley,  and  a  brilliant  interior  (No. 
2343)  by  Gaston  La  Touche.  The  pictures  by  Monet  illustrate  his 
progress  from  the  hard  conventionalism  of  his  early  academic 
style  (seen  in  2636)  to  such  delightful  embodiments  of  light  and 
atmosphere  as  2633  and  2637.  The  gallery  contains  no  more  tri- 
umphant piece  of  Impressionism  than  the  saucy  "Lady  in  Pink" 
by  the  Russian,  Nicholas  Fechin.  The  story  set  afloat  that  it  is  the 
work  of  an  untaught  Russian  peasant  simply  testifies  to  ignorance 
of  this  master.  Every  splotch  of  color  here  breathes  technique. 
As  if  by  way  of  contrast,  the  opposite  wall  shows  one  of  Puvis  de 
Chavannes'  classical  murals,  even  more  anaemic  than  usual. 

The  large  room  No.  63  shows  a  Venetian  sunset  by  Turner,  two 
portraits  by  Goya,  another  attributed  to  Velasquez,  a  splendid 
Raffaelesque  altar-piece  by  Tiepolo,  the  like  of  which  rarely  leaves 
Italy,  and  canvases  by  Guido  Reni,  Ribera,  and  Van  Dyke.  Almost 
all  the  remaining  space  is  taken  up  by  excellent  examples  of  the 
British  art  that  influenced  the  early  American  painters,  with  some 
of  prior  date.  Here  are  canvases  by  Lely,  Kneller,  Hogarth, 
Reynolds,  Gainsborough,  Hoppner,  Beechey,  Allan  Ramsay,  Law- 
rence, Raeburn,  and  Romney.  The  last  four  are  especially  well 
represented.  In  this  room,  too,  is  the  bronze  replica  of  Wein- 
mann's  figure,  "The  Setting  Sun,"  here  called  "Descending  Night." 

AMERICAN  "OLD  MASTERS."— Following  logically  the  English 
portrait  painters,  the  American  historical  section  begins  with 
Rooms  60  and  59.  The  former  is  mainly  filled  with  the  work, 
much  of  it  admirable,  of  the  early  American  portrait  painters. 
Here  are  Gilbert  Stuart's  lovable  "President  Monroe,"  Benjamin 
West's  "Magdalen,"  and  portraits  by  Peale,  Copley,  West,  Sully 
and  others.  In  Room  59,  the  antiquarian  interest  predominates, 
with  a  few  fine  portraits  by  Inman,  Harding,  King,  and  S.  F.  B. 
Morse,  who,  besides  inventor,  was  an  artist.  But  nothing  here 
surpasses  No.  1719  by  Charles  Loring  Elliott,  a  canvas  that  is  irre- 
sistible in  its  vivid  setting  forth  of  personality.  Room  58  brings 
the  story  of  American  painting  well  past  the  middle  of  the  Nine- 
teenth century,  with  typical  examples  of  Bierstadt,  Eastman  John- 
son and  other  fading  names.  Room  57  contains  a  number  of 
Edwin  Abbey's  finely  illustrative  paintings,  the  most  popular  of 


116  THE  JEWEL  CITY 

which  is  his  "Penance  of  Eleanor,"  and  a  collection  of  his  splen- 
did drawings;  also  important  canvases  by  Theodore  Robinson  and 
John  La  Farge.  Room  64  covers  a  wide  sweep,  from  Church's 
archaic  "Niagara  Falls"  down  to  Stephen  Parrish,  Eakins,  Martin, 
the  Morans,  Hovenden,  and  Remington.  Edward  Moran's  "Brush 
Burning"  (2649)  is  capital.  Room  54,  the  last  of  the  American 
historical  rooms,  is  perhaps  the  most  important,  finely  showing 
Inness,  Wyant,  Winslow  Homer,  Hunt,  and  other  American  masters. 

MODERN  AMERICAN  PAINTING.— We  come  now  to  the  great 
and  splendid  representation  of  present-day  painters.  In  noting 
these,  the  artists  achieving  grand  prizes,  medals  of  honor  or  gold 
medals  will  often  be  mentioned;  but  a  full  list  of  such  honors  will 
be  found  at  the  end  of  this  chapter.  It  should  be  remembered  that 
no  member  of  a  jury,  and  no  man  who  received  the  honor  of  a 
separate  room,  was  eligible  for  award.  In  general,  it  may  be  said, 
the  Exposition  puts  forward  the  work  of  artists  who  have 
"arrived"  since  the  opening  of  the  century.  In  accordance  with 
this  helpful  policy,  older  painters  who  had  won  many  honors  at 
previous  exhibitions  were  passed  over  for  the  encouragement  of 
younger  men.  It  should  also  be  noted  that  awards  were  not  made 
for  particular  pictures,  but  upon  each  artist's  exhibit  as  a  whole. 

Rooms  55,  56,  65  and  85  show  contemporary  Americans, — the 
last  two  with  great  credit.  No.  65  is  a  large  room  of  canvases  by 
American  women  painters.  One  who  has  not  kept  abreast  of 
woman's  work  in  art  in  this  country  has  a  surprise  awaiting  him 
in  the  the  high  quality  shown  here.  Two  pictures  by  Ellen  Rand 
(2919,  2918),  Mary  Curtis  Richardson's  captivating  "Young 
Mother"  and  her  "Professor  Paget"  (3000,  3002),  and  Alice  Stod- 
dard's  inimitably  girlish  group,  "The  Sisters"  (3329),  will  reward 
very  careful  study  of  their  sincerity  and  strength  of  treatment. 
Especially  brilliant  are  the  works  of  Cecilia  Beaux  and  M.  Jean 
McLane, — the  first  winning  the  Exposition's  medal  of  honor,  the 
latter  rather  theatrical  in  their  gayety  of  color.  Here  also  is  a 
canvas  (2743)  by  Violet  Oakley,  another  honor  medallist. 

Room  85  is  enriched  by  the  canvases  of  Charles  Walter  Stetson, 
Horatio  Walker,  Charles  W.  Hawthorne,  Douglas  Volk  (gold 
medal),  and  George  de  Forest  Brush.  Volk's  three  charming  pic- 
tures deserve  to  be  better  hung.  The  Stetson  group  illustrates  the 
Impressionist  method  and  result  as  well  as  anything  in  the  Palace. 
Take  his  "Smugglers"  or  his  "Summer  Joy"  (3311,  3317),  and  note 
how  a  few  heavy  and  apparently  meaningless  dabs  of  color  may 
be  laid  side  by  side  on  canvas  in  such  a  way  that,  when  seen  from 
a  distance,  they  blend,  until  the  picture  not  only  outlines  figures 
and  foliage,  but  also  glows  with  atmosphere,  life  and  movement. 


AMERICAN  LEADERS  IN  PAINTING  117 

These  rooms  complete  the  south  half  of  the  American  section, 
with  the  exception  of  the  very  interesting,  though  not  fully  ade- 
quate, Whistler  Room,  28;  the  Print  Rooms,  29  to  34,  in  the  tier 
along  the  west  wall,  and  five  more  one-man  rooms  along  the  east 
wall.  These  five,  in  their  order  from  the  main  entrance  are: 
No.  87,  devoted  to  the  old-masterlike  works  of  Frank  Duveneck, 
who,  more  perhaps  than  any  other  American,  shows  the  great 
manner  of  Velasquez,  Rembrandt  and  Franz  Hals,  and  to  whom 
the  jury  has  recommended  that  a  special  medal  be  given  for  his 
influence  on  American  art;  No.  88  filled  with  the  admirable 
Impressionist  landscapes  of  E.  W.  Redfield;  89  and  93,  given  up  to 
the  widely  contrasted  work  of  Edmund  C.  Tarbell  and  John  H. 
Twachtman,  each  in  his  own  fashion  a  master  and  enjoying  a 
well-earned  popularity,  Twachtman's  pictures  in  particular  com- 
manding almost  as  high  prices  as  those  of  the  men  in  Room  54; 
and  No.  90,  just  off  the  Tarbell  room,  containing  a  small  loan 
collection  which  very  incompletely  represents  William  Keith. 
Five  other  individual  rooms  are  north  of  the  main  entrance: 
No.  79,  portraits  and  still  life  by  William  M.  Chase;  78,  Childe 
Hassam's  radically  Impressionist  work;  77,  Gari  Melchers*  pictures 
of  Dutch  types  and  scenes;  76,  the  charming  western  pictures  of 
Arthur  F.  Mathews  and  Francis  McComas,  both  Calif ornians;  and 
75,  the  John  S.  Sargent  room,  containing  among  other  works  his 
famous  early  portrait  of  Mme.  Gautrin,  his  "John  Hay,"  and  the 
sympathetic  portrait  of  Henry  James  which  was  mutilated  by  the 
British  suffragettes.  All  these  one-man  rooms  exhibit  character- 
istic work  of  the  men  thus  distinguished,  though  the  younger  men 
are  the  more  completely  represented.  The  Whistler,  Keith,  Chase 
and  Sargent  rooms,  which  may  be  classed  with  the  historical  block, 
show  few  of  the  best-known  masterpieces  of  these  artists. 

Room  80,  cut  out  of  the  northeast  corner  of  the  central  hall,  a 
gallery  of  well  restrained  pictures,  contains  the  interesting  work 
in  light  and  color  of  William  McG.  Paxton,  member  of  the  jury; 
portraits  and  figures  by  Leslie  P.  Thompson  (silver  medal),  Philip 
L.  Hale's  warm-toned  portraits,  the  delicate  but  brilliant  land- 
scapes of  Willard  L.  Metcalf  (medal  of  honor),  and  those  by  Philip 
Little  (silver  medal).  The  portraits  are  in  the  older  academic 
style;  the  landscapes,  modern.  Rooms  67  and  68  are  distinguished 
by  some  notable  landscapes  and  marines.  No.  67  shows  Emil 
Carlsen's  fresh  "Open  Sea,"  his  single  picture  here,  but  the  winner 
of  a  medal  of  honor,  and  Albert  Laessle's  small  animal  sculptures 
(gold  medal),  and  capital  examples  of  Paul  Dougherty,  J.  F.  Carl- 
son, Leonard  Ochtman  and  Ben  Foster.  No.  68  holds  two  fine 
snowy  landscapes  by  W.  Elmer  Schofield  (medal  of  honor),  two 


118  THE  JEWEL  CITY 

engaging  studies  in  brown  by  Daniel  Garber,  brilliant  figures  by 
J.  C.  Johansen,  and  California  coast  views  by  William  Ritschel. 
The  last  three  artists  are  gold  medallists. 

Room  69  is  made  noteworthy  by  works  of  three  of  the  nine 
American  winners  of  the  medal  of  honor, — Lawton  Parker's 
voluptuous  "Paresse"  and  two  portraits,  and  single  paintings  by 
John  W.  Alexander  and  Richard  E.  Miller  (1035,  2606).  Alex- 
ander's airy  "Phyllis"  is  his  only  picture  in  the  Palace.  Miller 
shows  one  more  canvas,  a  colorful  "Nude"  (2607)  in  Room  47. 
Room  70  is  entirely  devoted  to  portrait  painters,  among  them 
Julian  Story,  H.  G.  Herkomer,  Robert  Vonnoh,  and  Irving  C. 
Wiles  (3668),  the  latter  two  both  winners  of  the  gold  medal. 
No.  74  shows  admirable  small  landscapes,  among  them  the  "Group 
of  White  Birches"  by  Will  S.  Robinson  (silver  medal),  Charles  C. 
Allen's  "Mountain  and  Cloud,"  and  land  and  water  views  by 
Charles  J.  Taylor,  especially  No.  3404.  Room  73  shows  good  land- 
scapes by  Ernest  Lawson  (gold  medal),  Paul  King  (silver  medal), 
and  the  two  Deals.  GifFord  Real's  work  won  a  gold  medal.  Room 
72,  a  gallery  in  the  academic  style,  contains  a  variety  of  portraits, 
figure  paintings  and  landscapes,  including  W.  R.  Leigh's  spirited 
"Stampede,"  and  the  more  conventional  work  of  Walter  MacEwen. 
No.  71  is  another  varied  room.  In  addition  to  some  landscapes, 
the  visitor  will  be  struck  by  the  small  but  exquisite  exhibit  in 
gold,  enamel,  and  precious  stones  of  Louis  C.  Tiffany. 

The  western  tier  of  this  section,  Rooms  43-51,  contains  work  of 
all  grades  of  merit.  No.  43  is  conglomerate.  Perham  Nahl's  well 
drawn  "Despair"  (2690)  is  perhaps  best  worth  mention.  In  No. 
44  Putthuff's  two  brown  western  scenes  and  Clarkson's  portrait  of 
E.  G.  Keith  are  interesting.  No.  45  is  better.  Walter  Griffin's 
opulent  landscapes  (medal  of  honor)  are  well  worth  studying. 
Here  also  are  two  canvases  by  Robert  Reid,  one  almost  Japanese 
in  its  effect;  the  restrained  landscapes  of  William  Sartain,  and 
Charles  Morris  Young's  sharply  contrasting  "Red  Mill'  and  "Gray 
Mill,"  with  his  characteristic  wintry  landscapes.  Reid  and  Young 
won  the  gold  medal.  In  No.  46  are  a  half-dozen  delicately  handled 
landscapes  by  Frank  V.  Du  Mond,  a  member  of  the  jury.  In 
No.  47  E.  L.  Blumenschein's  warm  Indian  pictures  and  A.  L. 
GrolPs  desert  scenes  won  silver  medals.  But  the  best  thing  here 
is  Richard  E.  Miller's  "Nude,"  already  mentioned. 

On  the  east  wall  of  Room  48  hangs  "Sleep,"  the  best  of  the 
eight  canvases  shown  by  Frederic  Carl  Frieseke,  distinguished 
above  all  other  American  painters  in  the  palace  by  the  Exposi- 
tion's grand  prize.  Seven  other  pictures  by  Frieseke,  interesting 
by  reason  of  comparison  with  this  masterpiece,  hang  in  Room  117. 


COLONNADE  OF  THE  FINE  ARTS  PALACE.     Across  the  lagoon  is  the  Roman  half- 
dome— the  DOME  OF  PLENTY— of  the  Palace  of  Food  Products. 


(  P.  119  ) 


"THE  MOTHER  OF  THE  DEAD,"  C.  L.  Pietro  of  New  York,  sculptor.  This 
bronze  group,  set  near  the  north  end  of  the  Fine  Arts  Colonnade,  is  one  of 
the  strongest  popular  sculptures  among  the  exhibits,  as  it  is  also  the  most 
contemporaneous.  It  is  the  protest  of  Art  against  the  great  war,  which  is 
leaving  to  Europe  only  the  aged  and  the  infantile. 

(  P.  120  ) 


EXTREMES  IN  IMPRESSIONISM  121 

In  Gallery  48  are  also  some  good  landscapes, — Robert  Vonnoh's 
"Bridge  at  Grez"  and  Cullen  Yates'  "November  Snow."  In  No. 
49,  a  better  balanced  room  than  most  in  this  tier,  three  walls  are 
made  noteworthy  by  J.  Alden  Weir's  luminous  and  Impressionist 
landscapes,  and  D.  W.  Tryon's  more  academic  canvases.  Weir 
was  the  chairman  of  the  jury  for  oil  paintings.  No.  50  is  dom- 
inated by  Sergeant  Kendall,  in  both  painting  and  sculpture.  In 
the  first  he  won  the  gold  medal,  in  the  second  the  silver  medal. 
Room  51  has  been  called  the  "Chamber  of  Horrors,"  because  it 
shows  several  of  the  extremists;  but  it  has  some  masterpieces. 
Staring  things  by  John  Sloan,  William  J.  Glackens,  Adolphe  Borie, 
and  Arthur  B.  Carles  are  relieved  by  H.  H.  Breckinridge's  highly 
colored  fruits  and  flowers,  Gertrude  Lampert's  "Black  and  Green," 
Thomas  Anshutz'  two  studies  of  women,  and  several  of  Robert 
Henri's  strong  figure  pieces. 

In  the  extreme  northern  end  of  the  gallery,  beyond  the  foreign 
sections,  is  a  tier  of  four  rooms,  117-120,  ranging  from  the  mediocre 
to  the  admirable.  In  No.  117  are  seven  interesting  canvases  by 
Frieseke,  the  grand-prize  winner,  already  mentioned.  These  pic- 
tures show  the  artist's  scope.  No.  1816  and  others  are  strikingly 
like  Plinio  Nomellini's  No.  86  in  the  Italian  section.  No.  1811  is  as 
different  from  these  as  "Sleep"  is  from  all  the  rest.  In  the  same 
room  are  Mora's  "Vacation  Time"  (2645)  and  Tanner's  "Christ  at 
the  Home  of  Lazarus"  (3370),  both  winners  of  the  gold  medal. 
Room  118  holds  the  pictures  of  several  gold-medal  winners,  the 
"Promenade"  (1185)  by  Max  Bohm;  the  noble  "Lake  Louise"  (1246) 
by  H.  J.  Breuer,  whose  pictures  of  the  Canadian  Rockies  are  also  to 
be  found  in  Rooms  56  and  58;  the  tender  "Spring"  (1972)  by  W.  D. 
Hamilton,  worthy  of  a  better  place;  and  H.  L.  Hoffman's  clear- 
lighted  "A  Mood  of  Spring"  (2116),  and  his  vivid  "Savannah 
Market"  (2115). 

Room  119  is  filled  with  water-colors,  drawings,  engravings  and 
etchings.  Room  120  holds  George  Bellows'  Post-Impressionistic 
canvases,  Myron  Barlow's  well-drawn  figures,  W.  D.  Hamilton's 
speaking  likeness  of  Justice  McKenna  (1971),  Charles  H.  Wood- 
bury's  "The  Bark"  (3692),  and  Waldo  Murray's  portrait  of  "Robert 
Fowler"  (366),  wrongly  catalogued  with  the  International  section. 
All  these  painters  won  gold  medals.  This  is  perhaps  the  best  room 
in  this  tier. 

In  the  tier  on  the  western  wall  devoted  to  the  minor  forms  of 
art,  Howard  Pyle's  illustrations  occupy  two  small  rooms,  41  and  42. 
The  first  contains  ink  sketches,  the  second  his  works  in  charac- 
teristic color.  Room  40  is  devoted  to  admirable  miniatures  and  to 
water  colors.  Here  on  the  east  wall  are  Jules  Guerin's  vividly 


122  THE  JEWEL  CITY 

colored  Oriental  scenes,  which  won  the  gold  medal.  The  walls 
of  Room  39  are  given  up  to  a  series  of  charming  pastels  by  John 
McClure  Hamilton.  No.  39  also  contains  cases  of  medals,  as  does 
No.  38.  Room  37  is  devoted  to  miniatures,  and  36  to  drawings. 

In  the  section  known  as  the  "Print  Rooms,"  29-34,  along  the 
west  wall,  are  hundreds  of  famous  etchings.  This  branch  of  art, 
old  and  respected  through  the  examples  offered  by  early  masters 
like  Albrecht  Diirer  and  Rembrandt,  has  still  to  be  fully  appre- 
ciated. It  has  come  to  the  public  slowly,  the  layman  who  likes 
and  buys  pictures  more  often  holding  aloof  from  the  thing  called 
an  etching.  That  there  is  now  a  closer  acquaintance  than  before 
is  due  in  large  measure  to  Joseph  Pennell.  Working  through  the 
practical,  he  allied  his  art  years  ago  with  such  subjects  as  bridge 
and  railroad  building,  and  by  giving  the  public  an  easier  avenue 
of  approach,  has  attracted  it  to  the  beauty  of  this  method  of  art. 
The  print  rooms  show  dozens  of  PennelPs  etchings,  with  those  of 
Whistler  and  many  others.  Whistler's  etchings,  lithographs,  and 
drawings  are  in  No.  29,  Pennell's  in  No.  31.  Room  30  holds  the 
work  of  Henry  Wolf,  winner  of  the  grand  prize.  D.  A.  Wehr- 
schmidt,  an  honor  medallist,  is  represented  in  Room  119.  J.  Andre 
Smith,  Herman  A.  Webster  and  Cadwallader  Washburn  are  in 
Room  32,  Allen  Lewis  and  Gustav  Baumann  (gold  medals)  are  in 
Room  34.  Room  28  holds  the  loan  collection  of  Whistler's  works, 
already  mentioned,  chiefly  from  the  National  Gallery,  Washington. 
Room  27  contains  photographic  reproductions  of  painting  and 
sculpture.  Room  26  is  devoted  to  original  drawings  for  illus- 
tration. 

THE  FOREIGN  SECTIONS. — These  are  placed  north  and  south 
of  the  United  States  collections.  In  the  extreme  south  end,  JAPAN 
occupies  a  large  block  of  rooms,  numbered  from  1  to  10.  With  this 
abundant  floor  and  wall  space  at  her  disposal,  that  country  left 
nothing  undone  to  make  her  art  exhibit  comprehensive  and  beau- 
tiful. The  display  stands  alone  for  completeness.  Japan's  art  is  as 
old  as  her  history;  and  now,  with  her  advent  among  the  modern 
nations,  she  has  added  Occidental  art  to  her  more  ancient  forms. 
The  essayal,  as  shown  here,  is  still  beyond  her,  but  the  strides  are 
noteworthy.  In  the  wonderful  display  of  her  own  art,  she  shows 
both  the  beauties  of  antiquity  and  the  masterpieces  of  her  present- 
day  artists.  The  paintings  upon  silk,  landscape  embroideries,  por- 
celains, ink  drawings,  metal  work,  and  scrolls  will  occupy  the 
art  lover  many  hours. 

France  adjoins  Japan,  filling  a  block  of  rooms  from  12  to  18, 
and  Italy  follows,  in  Rooms  21  to  25.  The  intervening  rooms,  Nos. 
19  and  20,  are  assigned  respectively  to  Uruguay  and  Cuba. 


THE  FUTURISTS  123 

The  French  and  Italian  exhibits  had  to  wait  for  the  arrival  of 
the  Jason.  Now  they  are  installed,  and  beautifully  hung  and  set. 
Though  France  is  the  home  of  the  Post-Impressionists,  and  Italy 
that  of  the  Futurists,  the  flagrancy  of  neither  of  these  schools  is  on 
view  here.  Both  countries  show  their  best  balanced  art  since  1905. 
In  the  French  exhibit,  the  mode  of  the  day  prevails, — color,  lumin- 
osity, richness  of  texture.  All  that  differentiates  the  art  of  France 
to-day  from  that  of  other  countries  is  her  own  inimitable,  delicate, 
inherent  taste  and  touch.  The  subject  matters  little;  the  French 
perception  and  execution  are  there.  Where  other  canvases  offer — 
say  a  beautiful  glow — the  French  picture  "vibrates."  If  other 
works  are  finished,  these  have  finesse.  There  is  similar  spirit  in 
the  Italian  galleries,  with  a  variation  due  to  national  characteristics 
rather  than  to  difference  of  opinion  or  method.  The  Italian  pic- 
tures fully  occupy  the  mind  and  eye;  the  French  often  fascinate  by 
something  more  than  skill  and  color.  Both  countries  have  placed 
their  older  art,  and  some  of  its  best,  in  their  official  pavilions. 

FRANCE. — In  the  French  Section,  Room  12  contains  a  diverse 
collection  of  water  color,  drawing,  engraving,  and  painting,  among 
the  latter,  Henry  Grosjean's  "The  Bottoms"  (365).    Room  13,  full 
of  strongly  contrasting  work,  is  distinguished  by  Maurice  Denis' 
daring  decorative  panels.    Here  also  is  Claude  Monet's  "Vetheuil" 
(452),  the  same  scene,  though  not  the  same  picture,  as  his  No.  2634 
in  Room  61.    Comparison  is  interesting  for  the  difference  in  touch, 
though  both  were  painted  in  the  same  year.   Francois  Flameng  is 
represented   here   by   "Paris"    (346),   not   so   compelling   as   his 
"Madame  Letellier"  (345),  and  "Fete  Venetienne"  (344),  in  Rooms 
18  and  14.    Room  14,  containing  a  good  many  decorative  canvases, 
has  also,  besides  Flameng's  "Fete,"  two  of  the  extreme  Impres- 
sionistic paintings  of  Henri  Martin,  "The  Lovers"  (432),  and  his 
own  dim  "Self  Portrait"  (433).    Two  colorful  Breton  scenes  (302) 
by  Darrieux,  and  (406)  by  Le  Gout-Gerard  stand  out  on  the  north 
wall.     Room  15  shows  some  charming  pieces, — Lucien  Simon's 
strongly  contrasting  work  in  the  spiritual  "Communicants"  (494) 
and  his  barbaric  "Gondola"  (495);  Domergue's  "The  Frog"  (324), 
Besnard's  glowing  "Gipsy"   (255),  and  Lemordant's  "The  Wind" 
(409).     These  last  give  a  strong  color  to  the  room,  relieved  by 
Leroux'  calm  "Lake"  (416),  and  Maury's  delicate  young  girls  (440). 
Room  16  is  better  balanced.     Remembering  "The  Frog,"  Do- 
mergue's versatility  appears  in  the  portrait  of  Gina  Mabille,  the 
danseuse.    A  delicate  bit  of  Impressionism  in  Le  Sidanier's  "The 
Harbor:  Landernau"   (418).    Two  canvases  by  Menard  are  hung 
here.    His  "Opal  Sea"  (445)  is  charming.     Auburtin's  decorative 
panels  hang  on  the  north  wall.    One  of  the  most  notable  works  of 


124  THE  JEWEL  CITY 

P.  Franc  Lamy,  his  golden  "Venice:  Morning"  (393),  will  be 
found  on  the  west  wall. 

Room  17  shows  little  of  striking  interest.  Augustin  Hanicotte, 
one  of  the  few  French  painters  to  adopt  the  strong  colors  and 
lights  of  the  Scandinavian  artists,  is  represented  by  the  gay  "Win- 
ter in  the  Low  Country"  (381) .  Andre  Dauchez'  "Le  Pouldu"  (304) 
is  a  fine  brown  lowland  landscape.  In  spirit,  though  in  richer 
colors,  Jean  Veber's  captivating  "Little  Princess"  (515)  reminds 
one  of  John  Bauer's  Swedish  fairy-tale  pictures.  Strength  and 
truthfulness  characterize  Jeanniot's  fine  group  of  Norman  fisher- 
folk  (388).  (See  p.  125.) 

Room  18  is  better.  Note  Marie  Cazin's  "Diana  Asleep"  (289), 
done  in  a  single  brown.  Here,  too,  is  Flameng's  "Portrait  of  Ma- 
dame Letellier"  (345).  A  soft,  delicate  bit  of  landscape  is  Brouil- 
let's  "Among  the  Dunes"  (272),  which  deserves  better  than  to  be 
hung  in  a  corner.  One  who  has  seen  the  Futurist  pictures  in  the 
Annex  should  not  overlook  here  Albert  Guillaume's  "Le  Boniment" 
(370),  a  rich  burlesque  on  Futurist  art. 

ITALY. — No  other  section  in  the  Palace  is  so  finely  hung  as  the 
Italian.  As  no  attempt  has  been  made  to  crowd  the  rooms,  each 
canvas  is  properly  placed.  Room  21  holds  the  most  important 
paintings  honored  by  the  jury.  On  the  west  wall  is  the  work  of 
Ettore  Tito,  the  winner  of  the  grand  prize,  five  canvases  demon- 
strating both  his  versatility  and  his  mastery  of  color.  On  the  north 
and  south  walls  are  the  medal-of-honor  pictures  of  Onorato  Car- 
landi  and  Camillo  Innocenti,  the  latter  striking  in  their  golden 
tone.  Coromaldi's  rich  harvest  scenes  (26,  27),  and  a  Leonardo 
Bazzaro  (4)  (both  gold  medallists),  hang  on  the  east  wall.  Not  to 
be  overlooked,  though  passed  by  the  jury,  are  Casciaro's  warm 
landscapes  on  the  north  wall  and  Ricci's  "Butterflies"  (96),  which 
help  to  make  this  collection  one  of  splendid  color. 

Room  22  also  glows  with  color.  Ferraguti's  "Portrait  in 
Red"  (46)  (gold  medal)  holds  the  place  of  honor  on  the  west  wall. 
On  the  north  wall  is  the  glowing  "Fiametta"  (49)  by  Matilde  Festa 
Piacentini,  wife  of  the  architect  of  the  Italian  Pavilion,  and  beside 
it  the  equally  warm  "Golden  Rays"  (47)  by  Ferretti.  On  the  east 
wall  burns  Traiano  Chitarin's  "Evening  Fires"  (31).  Among  the 
sculpture  is  Dazzi's  "Portrait  of  a  Lady"  (160)  (gold  medal). 

Room  23  holds  the  greater  portion  of  the  sculpture,  including 
Amigoni's  simple  "Adolescence"  (151),  Brozzi's  spirited  "Animals" 
(155),  in  relievo  on  bronze,  Graziosi's  "Susanna"  (165),  and 
Pagliani's  "On  the  Beach"  (180) .  All  of  these  won  gold  medals,  but 
the  really  striking  piece  in  the  room  is  "Proximus  Tuus"  (162), 
the  weary  peasant,  by  Achille  D'Orsi.  Of  the  few  paintings  nothing 


IN  THE  ITALIAN  SECTION  127 

is  very  remarkable,  though  Bazzani's  "Arch  of  Septimus  Severus" 
(3)  is  interesting  for  its  workmanship. 

Room  24  presents  extremely  varied  styles  from  Morani's  No.  80 
to  Domenico  Irolli's  heavily  painted  "Violin  Player"  (64),  and 
Enrico  Lionne's  gorgeous  purple  figures  in  the  extreme  of  Impres- 
sionism. One  of  Nomellini's  effects  in  light  and  shade  appears  in 
No.  86,  on  the  east  wall.  Paolo  Sala's  "Along  the  Thames"  (100) 
deserves  better  place  and  notice.  Irolli,  Lionne  and  Nomellini 
are  gold  medallists. 

Room  25,  without  any  remarkable  canvases,  is  very  pleasing  as 
an  example  of  harmonious  hanging.  This  is  best  illustrated  by  the 
west  wall  where  hang  four  pictures  by  the  three  Ciardis,  Beppe, 
Emma,  and  Guiseppe,  and  one,  No.  6,  by  Bartolomeo  Bezzi,  the 
group  admirably  centered  by  Beppe  Ciardi's  large  "Venetian 
Scene"  (32).  All  three  of  the  Ciardis  won  gold  medals.  In  the 
center  of  the  north  wall  is  a  fine  ruddy  sunset  (102)  by  Francesco 
Sartorelli.  The  south  wall  is  dominated  by  Z.  V.  Zanetti's  richly 
decorative  "Tree"  (116).  Beside  it,  on  the  cut-off  of  the  wall,  is 
Guiseppe  Mentessi's  gripping  "Soul  of  the  Stones"  (75).  Mentessi 
won  the  gold  medal  with  this  picture,  as  Italo  Brass  did  with  his 
"Bridge  Across  the  Lagoon"  (10).  Sculpture  in  this  room  is  rep- 
resented by  small  bronzes  and  Ernesto  Biondi's  almost  terrible  "St. 
Francis  d'Assisi"  (154). 

URUGUAY. — The  Uruguayan  exhibit  of  painting  and  sculpture 
is  in  one  small  room,  No.  19,  against  the  west  wall,  next  to  France. 
The  work  has  characteristics  in  common  with  that  of  the  south  of 
Europe,  and  shows  national  feeling.  Manuel  Rose  (52-57)  was 
awarded  a  gold  medal. 

CUBA. — The  Cuban  section  in  Room  20,  adjoining  Uruguay, 
though  small,  is  interesting.  The  jury  thought  well  enough  of  Leo- 
poldo  Romanach's  canvases  (16-29)  to  give  him  the  medal  of  honor. 
M.  Rodriguez  Morey  (13-15)  won  the  gold  medal. 

CHINA,  occupying  four  rooms,  94-97,  adjoining  the  northern 
end  of  the  United  States  Section,  though  desirous  of  appearing 
before  the  world  as  a  modern  republic,  has  wisely  brought  here 
the  most  beautiful  examples  of  her  ancient  art.  Many  of  the  pieces 
go  so  far  beyond  the  records  of  man  that  their  authorship  is  lost 
in  darkness.  The  exquisitely  beautiful  ink  paintings  on  silk,  the 
finest  collection  of  these  works  in  existence,  represent  the  master 
painters  of  all  the  dynasties  of  China.  Their  subjects  deal  with 
tradition  and  religious  precepts.  Precious  cloisonne  in  heroic 
pieces  has  been  used  for  the  background  of  paintings.  There  are 
picture-screens  made  of  five  or  six  attached  panels  of  fine  por- 
celain inlaid  with  cloisonne,  and  many  splendid  carvings  and  por- 


128  THE  JEWEL  CITY 

celains.  The  medal  of  honor  for  water  color  went  to  Kiang  Ying- 
seng's  "Snow  Scene"  (348)  in  Room  94.  The  water  colors  of  Su 
Chen-lien,  Kao  Ki-fong,  and  Miss  Shin  Ying-chin,  and  the  exquisite 
carvings  in  semi-precious  stones  of  Teh  Chang,  all  gold  medal  win- 
ners, are  in  the  same  room. 

THE  PHILIPPINES,  Room  98,  by  the  west  wall,  have  an  exhibit 
which  shows  that  their  march  toward  civilization  includes  well- 
grounded  ambitions  of  art.  Mentality,  feeling,  spirit,  all  reveal 
themselves  in  the  canvases.  Crudity  is  apparent,  but  it  comes 
more  from  an  untutored  hand  than  from  failure  to  grasp  the  sig- 
nificance of  the  subject.  Many  pictures  are  flamboyant,  some  are 
melodramatic,  nearly  all  are  big  subjects  handled  with  great  bold- 
ness; what  they  lack  in  finish  they  make  up  in  sincerity.  Felix  R. 
Hidalgo's  contributions  (10-20)  won  him  a  gold  medal. 

SWEDEN. — The  achievements  of  Sweden,  Rooms  99-107,  next 
to  China,  have  surprised  everybody.  That  country  has  sent  the 
most  distinctively  national  of  all  the  European  exhibits.  Swedish 
artists  are  stay-at-homes,  and  their  pictures  are  filled  with  the 
Scandinavian  love  of  country.  The  scenes  and  portraits  are  all 
Swedish,  from  Carl  Larsson's  intimate  pictures  of  family  life  and 
forest  picnics  (see  p.  126),  or  Bruno  Liljefors'  great  paintings  of 
the  misty  northern  ocean,  down  to  John  Bauer's  captivating  little 
illustrations  of  Swedish  goblin  tales.  No  one  who  has  viewed  the 
snow  scenes  of  Anshelm  Schultzberg  can  ever  forget  the  impres- 
sion of  cold  and  impenetrable  depth.  Swedish  painters  are  heroic 
in  method,  very  lavish  with  their  pigments,  and  generous  in  the 
size  of  their  canvases.  Some  of  the  pictures,  in  fact,  like  "The 
Swans"  (202)  by  Liljefors,  are  too  large  to  be  seen  to  the  best 
advantage  in  the  small  rooms  where  they  hang.  Liljefors  won  the 
grand  prize,  and  Gustav  Fjaestad  the  medal  of  honor,  for  Swedish 
painting;  Larsson,  the  grand  prize  for  water  color.  Anna  Boberg, 
Room  106,  whose  masculine  paintings  have  always  won  her  honor 
hitherto,  is  without  award.  This  famous  painter  is  the  wife  of  the 
architect  of  the  fine  Swedish  Pavilion.  The  jury  offered  her  a  sil- 
ver medal,  but  Commissioner  Schultzberg  refused  to  accept  it. 

SPAIN  is  to  have  an  excellent  exhibit  in  the  Annex  building 
behind  the  Palace.  Thus  far  PORTUGAL  alone  represents  the 
Iberian  painters.  The  collection  fills  three  rooms,  109-111,  between 
Sweden  and  Holland.  The  Portuguese  artists  infuse  the  spirit  of 
revelry  into  much  of  their  work.  Indeed,  it  sometimes  approaches 
the  bacchanalian.  The  work  is  of  the  extreme  modern  school  as 
to  color,  although,  technically,  there  is  much  drawing  in  and 
respect  for  definite  form.  Most  striking,  perhaps,  is  the  splendid 
representation  in  many  of  the  pictures  of  the  intense  sunlight  that 


PORTUGAL  AND  ARGENTINA  129 

beats  upon  that  Southern  country.  No  more  vivid  examples  of 
this  can  be  found  in  the  collection  than  Malhoa's  "Returning  from 
the  Festival"  (54)  and  his  "Catholic  Procession  in  the  Country" 
(56).  Malhoa,  deservedly,  captured  the  grand  prize  for  Portu- 
guese art.  The  single  medal  of  honor  went  to  Jose  Veloso  Salgado 
for  his  scenes  of  Minho.  The  portraits,  too,  have  much  of  the 
intensity  of  the  South.  The  most  noteworthy  are  those  by  Colum- 
bano,  Room  110,  winner  of  the  grand  prize  at  St.  Louis.  The  four 
rooms  show  Portugal  prolific  of  artists  who  seek  beauty  in  scenes 
of  domesticity  and  the  grandeur  of  landscapes. 

ARGENTINA.— It  is  interesting  to  note  that  the  painters  of  Por- 
tugal show  more  characteristics  in  common  with  those  of  South 
America  and  the  Philippines  than  with  their  European  neighbors. 
Their  execution  is  more  tamed  than  that  of  the  Filipino  painters, 
their  style  more  settled  than  that  of  the  Argentine.  That  is  not  to 
the  discredit  of  the  Argentines,  who,  though  a  new  people,  have 
accomplished  much  that  deserves  praise.  Their  exhibit,  in  Room 
112,  is  important  in  its  showing  of  the  progress  of  art  in  so  new  a 
country,  and  it  is  said  to  be  representative.  The  artists  whose 
works  are  shown  are  almost  all  young  men,  a  fact  which,  in  con- 
nection with  their  performance,  proclaims  that  Argentina  will  do 
something  free  and  original  in  the  future.  Three  pictures  by 
Antonio  Alice,  Nos.  1,  2,  and  3,  have  been  awarded  the  medal  of 
honor.  They  bear  witness  to  Alice's  great  versatility.  Jorge  Ber- 
mudez'  three  figure  studies  (gold  medal)  are  striking.  No.  5,  "The 
Daughter  of  the  Hacienda,"  is  wrongly  entitled  in  the  official  cata- 
log "The  Young  Landlady."  Others  in  the  collection  suffer  in  the 
same  way,  as  Coppini's  "The  Old  Station"  (20),  which  is  cata- 
logued as  "The  Old  Stall."  Some  of  the  Argentine  landscapes  are 
striking  expositions  of  the  spirit  of  the  pampas,  particularly  Lavec- 
chia's  "Near  Twilight"  (35).  As  a  whole,  the  paintings  are  sig- 
nificant of  the  country  of  their  painters,  a  truly  worthy  quality. 
The  sculpture  in  this  room,  particularly  "Increase  and  Multiply" 
(75),  by  Pedro  Zonza  Briano  (medal  of  honor),  and  a  splendid 
Indian  portrait  (32),  by  Alberto  Lagos  (gold  medal),  is  admirable. 

The  INTERNATIONAL  ROOM,  No.  108,  on  the  east  wall  between 
Sweden,  Holland  and  Portugal,  contains  but  a  small  portion  of  the 
foreign  pictures.  Its  chief  feature  is  the  exhibit  of  GERMAN  art. 
Franz  Stuck's  "Summer  Night"  (459),  Heinrich  von  Zugel's  "In  the 
Rhine  Meadows"  (549),  both  winners  of  the  medal  of  honor;  Curt 
Agthe's  "At  the  Spring"  (3),  and  Leo  Putz'  "The  Shore" (387),  gold- 
medal  pictures,  are  worthily  characteristic  of  Germany's  best  art. 
"El  Cristo  de  los  Andes,"  by  E.  W.  Christmas  (bronze  medal)  is 
interesting.  The  bulk  of  the  pictures  under  "International  Section" 
are  in  the  Annex. 


130  THE  JEWEL  CITY 

HOLLAND,  in  Rooms  113-116,  shows  an  art  so  different  in  its 
characteristics  from  that  of  Sweden  that  she  might  be  at  the  other 
end  of  the  earth.  Where  the  Swedish  artists  show  boldness,  some- 
times almost  to  the  point  of  crudeness,  the  Dutch  are  intent  on 
some  degree  of  finish.  Modernity  of  color  is  apparent,  and  while 
there  are  few  strokes  that  indicate  timidity,  there  are  fine  touches 
of  the  poetic  in  which  the  Hollander's  heart  shows  its  love  of  home 
and  gardens.  Those  great  tulip  beds  are  real  and  luscious.  Family 
life  in  the  Netherlands  is  shown  in  several  fine  interiors,  and  the 
portraits  by  Dutch  artists  are  more  graceful  than  those  of  the  aver- 
age modernist.  The  grand  prize  in  the  Netherlands  section  went 
to  Breitner's  snowy  "Amsterdam  Timber  Port"  (17).  Bauer's  "Ori- 
ental Equestrian"  (7)  won  the  medal  of  honor.  Gold  medals  were 
given  to  seven  artists,  named  in  the  list  following  this  chapter. 

A  thoroughly  delightful  portion  of  the  art  exhibit  is  the  sculp- 
ture shown  in  the  colonnades  and  on  the  grounds  of  the  Palace. 
This  is  the  first  time  a  great  exhibit  has  been  displayed  in  such  a 
manner.  It  adds  everything  to  the  effectiveness  of  the  sculpture, 
wherever  the  pieces  have  been  designed  to  be  erected  out  of  doors. 
It  has  been  possible  to  show  much  of  the  fountain  sculpture  in  its 
actual  relation  to  real  fountains,  and  to  give  the  hunters  and 
Indians,  the  nymphs  and  the  satyrs,  the  advantage  of  natural  back- 
grounds. In  addition  to  the  contemporaneous  sculpture  there  are 
some  famous  pieces  here,  such  as  Saint-Gaudens'  Lincoln,  brought 
from  Chicago,  and  the  copy  of  Bartlett's  equestrian  Lafayette. 
Among  recent  sculpture,  one  of  the  most  interesting  works  shown 
is  a  group  by  G.  L.  Pietro,  of  New  York,  "The  Mother  of  the  Dead," 
— a  powerful  story  in  bronze  of  the  burden  which  the  war  has 
brought  to  woman.  (See  p.  120.)  Pietro's  modeling  is  worthy  of 
an  older  artist.  Another  human  tragedy  is  well  told  in  "The  Out- 
cast," a  graphic  figure  by  Attilio  Piccirilli.  (P.  136.)  Charming  bits 
of  comedy  are  the  whimsical  little  fountain  pieces  by  Janet  Scudder 
and  Anna  Coleman  Ladd.  The  honor-winners  in  sculpture  are 
named  in  the  following  list. 

AWARDS 

Awards  have  been  completed  and  announced  by  the  Fine  Arts 
juries  in  all  sections  except  the  French.  The  following  list 
includes  all  the  grand  prizes,  medals  of  honor  and  gold  medals. 
The  numerous  silver  and  bronze  medals  and  honorable  mentions 
are  omitted.  Numbers  following  the  names  indicate  the  rooms 
where  the  work  may  be  found. 

UNITED  STATES  SECTION.— 

OIL  PAINTING:— GRAND  PRIZE.— F.   C.  Frieseke,  48,  117. 


PRIZES  AND  MEDALS  131 

MEDALS  OF  HONOR.— John  W.  Alexander,  69 ;  Cecilia  Beaux,  65 ;  Emil  Carlsen, 
67 ;  Walter  Griffin,  45 ;  Violet  Oakley,  65 ;  Willard  L.  Metcalf ,  80 ;  Richard  E. 
Miller,  47,  69;  Lawton  Parker,  69;  W.  E.  Schofleld,  68. 

GOLD  MEDALS. — Myron  Barlow,  120;  Gifford  Beal,  73;  George  Bellows,  120;  Max 
Bohm,  72,  118 ;  H.  H.  Breckenridge,  51 ;  H.  J.  Breuer,  56,  58,  118 ;  C.  C.  Cooper, 
37,  47;  H.  G.  Gushing,  66,  68;  Charles  H.  Davis,  67;  Ruger  Donoho,  46;  Paul 
Dougherty,  67;  J.  J.  Enneking,  71;  Daniel  Garber,  68;  Lillian  W.  Hale,  40, 
65,  80;  W.  D.  Hamilton,  55,  118,  120;  Harry  L.  Hoffman,  118;  James  R. 
Hopkins,  45,  47;  John  C.  Johansen,  68;  Sergeant  Kendall,  50;  William  L. 
Lathrop,  37,  50;  Ernest  Lawson,  73;  Hayley  Lever,  66,  67,  71;  F.  L.  Mora, 
45,  71,  117;  Waldo  Murray,  120;  Elizabeth  Nourse,  56;  Joseph  T.  Pearson,  69; 
Marion  Powers,  56;  Ellen  Emmet  Rand,  65;  Robert  Reid,  45;  William 
Ritschel,  68,  71;  Edward  F.  Rook,  45,  48;  Robert  Spencer,  67,  68;  H.  O. 
Tanner,  117;  Louis  C.  Tiffany,  71;  Giovanni  Troccoli,  48;  Douglas  Volk,  85; 
Robert  Vonnoh,  45,  66,  70;  Horatio  Walker,  85;  E.  K.  K.  Wetherell,  70,  72; 
Irving  R.  Wiles,  70;  C.  H.  Woodbury,  37,  69,  119,  120;  Charles  M.  Young,  45. 
WATER  COLORS,  MINIATURE  PAINTING  AND  DRAWING 

MEDALS  OF  HONOR.— Lillian  Westcott  Hale,  40;  Laura  Coombs  Hills,  40,  118; 
Henry  Muhrmann,  54,  72,  119,  120;  Frank  Mura,  54,  119;  F.  Walter  Taylor, 
26;  Charles  H.  Woodbury,  37. 

GOLD  MEDALS.— William  Jacob  Baer,  40;  Jules  Guerin,  40;  George  Hallowell, 
40;  Charles  E.  Heil,  36;  Arthur  I.  Keller,  119;  Henry  McCarter,  26,  37;  F.  Luis 
Mora,  45,  117;  Alice  Schille,  37;  Henry  B.  Snell,  69,  117,  119;  N.  C.  Wyeth,  26. 

ETCHINGS    AND    ENGRAVINGS 
GRAND  PRIZE.— Henry  Wolf,  30. 

MEDALS  OF  HONOR.— D.  A.  Wehrschmidt,  119 ;  C.  Harry  White,  not  hung. 
GOLD  MEDALS.— Gustav  Baumann,  34;  Allen  Lewis,  34;  D.  Shaw  MacLaughlin, 

not  hung;   J.  Andre   Smith,   32;    Cadwallader   Washburn,   32;   Herman   A. 

Webster,  32. 

SCULPTURE 
MEDALS  OF  HONOR.— Herbert  Adams,  66,  Colonnade;  Karl  Bitter,  66,  68;  D.  C. 

French,  40,  66,  Rotunda. 
GOLD  MEDALS.— Cyrus  E.  Dallin,  30,  32,  35,  36,  37,  63,  66,  73,  83,  Colonnade; 

James  E.  Fraser,  66,  119;  A.  Laessle,  51,  66,  67;  Paul  Manship,  92,  93;  Attilio 

Piccirilli,  23,  42,  66,  73,  83,  Colonnade;  Bela  Pratt,  61,  66,  89,  Colonnade; 

A.  Phimister  Proctor,  72 ;  Arthur  Putnam,  67 ;  F.  G.  R.  Roth,  66. 

MEDALS 

MEDALS  OF  HONOR.— John  Flanagan,  38,  39. 
GOLD  MEDALS.— James  E.  Fraser,  38,  39;  H.  A.  MacNeil,  38,  39. 

ARGENTINE  SECTION.— 

In  Room  112. 

OIL  PAINTING :— MEDALS  OF  HONOR.— Antonio  Alice. 
GOLD  MEDALS. — Jorge  Bermudez,  Alejandro  Bustillo,  Ernesto  de  la  Carcova, 

Fernando  Fader,  Jose  Leon  Pagano,  Octavio  Pinto,  C.  Bernaldo  de  Quires, 

Eduardo  Sivori. 

SCULPTURE :— MEDAL  OF  HONOR.— Pedro  Zonza  Briano. 
GOLD  MEDALS.— Alberto  Lagos. 

AUSTRALIAN  SECTION.— 

In  Australian  Pavilion. 

ETCHINGS  AND  ENGRAVINGS 
GOLD  MEDAL.— Mrs.  J.  C.  A.  Traill. 


132  THE  JEWEL  CITY 

CHINESE  SECTION.— 

WATER  COLOR  PAINTING 
MEDAL  OF  HONOR. — Kiang  Ying-seng,  94. 

GOLD  MEDALS. — Su  Chen-lien,  94;  Kao  Ki-fong,  94;  Miss  Shin-Ying-Chin,  94. 
SCULPTURE:— GOLD  MEDAL.— Teh  Chang,  94. 

CUBAN  SECTION.— 

In  Room  20.  OIL  PAINTING 

MEDAL  OF  HONOR.— Leopoldo  Romanach. 
GOLD  MEDAL. — Rodriguez  Morey. 

INTERNATIONAL  SECTION.— 

OIL  PAINTING 

MEDALS  OF  HONOR. — Axel  Gallen,  Annex;  Eliseo  Meifren,  Annex;  Franz  von 
Stuck,  108;  Heinrich  von  Zugel,  108. 

GOLD  MEDALS. — John  Quincy  Adams,  Annex;  Cur^  Agthe,  108;  Conde  de 
Aguiar,  Annex;  Gonzales  Bilbao,  Annex;  Istvan  Csok,  Annex;  Harold  Knight, 
Annex;  Laura  Knight,  Annex;  Heinrich  Knirr,  Annex;  Lajos  Mark,  Annex; 
Julius  Olssen,  Annex;  Leo  Putz,  108;  George  Sauter,  Annex;  C.  W.  Simpson, 
Annex;  Harold  Speed,  Annex;  H.  Hughes  Stanton,  Annex;  Carlos  Vasquez, 
Annex;  Janos  Vaszary,  Annex;  Valentin  de  Zubiarre,  Annex. 
ETCHINGS  AND  ENGRAVINGS 

MEDAL  OF  HONOR. — Frank  Brangwyn,  Annex. 

GOLD  MEDALS. — R.  G.  Goodman,  Annex;  Willy  Pogany,  Annex;  Bela  Uitz, 
Annex. 

MEDALS 

GOLD  MEDAL. — Ede  Teles,  Annex. 

ITALIAN  SECTION.— 

OIL  PAINTING 

GRAND  PRIZE.— Ettore  Tito,  21. 

MEDALS  OF  HONOR. — Onorato  Carlandi,  21 ;  Camillo  Innocenti,  21. 
GOLD  MEDALS. — Leonardo  Bazzaro,  21 ;  Italo  Brass,  25 ;  Emma  Ciardi,  25 ;  Beppe 

Ciardi,  25 ;  Guiseppe  Ciardi,  25 ;  Umberto  Coromaldi,  21 ;  Visconti  Ferraguti, 

22;  Domenico  Irolli,  24;  Enrico  Lionne,  24;  Guiseppe  Mentessi,  25;  Plinio 

Nomellini,  24;  Feruccio  Scattola,  25. 

SCULPTURE 
GOLD    MEDALS.— Luigi    Amigoni,    23;    Renato    Brozzi,    23;    Arturo    Dazzi,    22; 

Guiseppe  Graziosi,  23;  Antionetta  Pagliani,  23. 

JAPANESE  SECTION.— 

WATER  COLOR  PAINTING 
MEDALS  OF  HONOR.— Ranshu  Dan,  1;  Toho  Hirose,  1;  Shoyen  Ikeda,  2;  Keisui 

Ito,  1;  Tomoto  Kobori,  1. 

GOLD  MEDALS. — Bunto  Hayashi,  1 ;  Taisei  Minakami,  1 ;  Yoshino  Morimura,  2 ; 
Hachiro  Nakagawa,  10;  Hosui  Okamoto,  1;  Tesshu  Okajima,  2;  Kangei 
Takakura,  2. 

SCULPTURE 
GOLD  MEDALS. — Choun  Yamazaki,  4 ;  Yoshida  Homei,  4. 

METAL  WORK 

GRAND  PRIZE.— Chozaburo  Yamada,  4. 
GOLD  MEDAL.— Kazuo  Miyachi,  4. 

LACQUER:— MEDAL  OF  HONOR.-^Titoku  Akazuka,  4. 
GOLD  MEDALS. — Kozen  Kato,  4 ;  Hikobei  Nishimura,  4 ;  Mesanori  Ogaki,  4. 

POTTERY,  PORCELAIN  AND  CLOISONNg 
GRAND  PRIZE.— Kozan  Miyakawa,  4. 
MEDALS  OF  HONOR.— Sosuke  Namikawa,  4;  Yohei  Seifu,  4. 


AWARDS  TO  FOREIGN  ARTISTS  133 

GOLD  MEDALS. — Eizaemon  Fukagawa,  4;  Yoshitaro  Hayakawa,  4;  Kazan  Itaya, 
4;  Tomotaro  Kato,  4;  Shibataro  Kawado,  4;  Sobei  Kinkozan,  4;  Meizan 

Yabu,  4. 

DYED   FABRICS  AND   EMBROIDERIES 
GRAND  PRIZE.-Jinbei  Kawashima,  4. 
MEDAL  OF  HONOR. — Seizaburo  Kajimoto,  4. 
GOLD  MEDALS. — Chokurei  Hamamura,  4;  Yozo  Nagara  and  Kiyoshi  Hashio,  4; 

Goun  Namikawa  and  Torakichi  Narita,  4;  Saiji  Kobayashi,  4. 

THE  NETHERLANDS  SECTION.— 

OIL  PAINTING 

GRAND  PRIZE.— G.  H.  Breitner,  113. 
MEDAL  OF  HONOR.— M.  A.  J.  Bauer,  113. 

GOLD  MEDALS. — David  Bautz,  114;  G.  W.  Dysselhof,  113;  Arnold  Marc.  Gorter, 
113;  Johan  Hendrik  van  Mastenbroek,  114;  Albert  Roelofs,  113;  Hobbe 
Smith,  114 ;  W.  B.  Tholen,  113. 

ETCHINGS  AND  ENGRAVINGS 
GOLD  MEDAL. — T.  H.  Van  Hoytema,  115. 

NORWEGIAN  SECTION.— 

In  the  Annex. 

OIL  PAINTING:— MEDAL  OF  HONOR.— Harald  Sohlberg. 
GOLD  MEDAL. — Halfdan  Strom. 

ETCHINGS  AND  ENGRAVINGS 
MEDAL  OF  HONOR.— Olaf  Lange. 
GOLD  MEDAL. — Edvard  Munch. 

SCULPTURE 
GOLD  MEDAL.— Ingebrigt  Vik. 

PHILIPPINE  SECTION.— 

OIL  PAINTING :— GOLD  MEDAL.— Felix  R.  Hidalgo,  98. 

PORTUGUESE  SECTION.— 

OIL  PAINTING 

GRAND  PRIZE. — Jose  Malhoa,  109,  110,  111. 
MEDAL  OF  HONOR.— Jose  Veloso  Salgado,  109,  111. 

GOLD  MEDALS. — Artur  Alves  Cardoso,  109,  110,  111 ;  Ernesto  Ferreira  Condeixa, 
109,  111;  Joao  Vaz,  109,  110,  111. 

SWEDISH  SECTION.— 

OIL  PAINTING :— GRAND  PRIZE.— Bruno  Liljefors,  100. 
MEDAL  OF  HONOR.— Gustaf  Fjaestad,  107. 

GOLD  MEDALS.— Elsa  Backlund-Celsing,  104;  Wilhelm  Behm,  103;  Alfred  Berg- 
strom,  103;  Oscar  Hullgren,  103;  Gottfrid  Kallstenius,  100,  104;  Helmer 
Mas-Olle,  102;  Helmer  Osslund,  102;  Emil  Osterman,  106;  Wilhelm  Smith, 
100,  103,  106;  Axel  Torneman,  100,  104. 

WATER  COLOR,  MINIATURE  PAINTINGS  AND  DRAWINGS 
GRAND  PRIZE.— Carl  Larsson,  101. 
MEDAL  OF  HONOR.— John  Bauer,  104. 
GOLD  MEDAL. — Oscar  Bergman,  101. 

SCULPTURE 
GOLD  MEDAL.— Gottfried  Larsson,  100. 

MEDALS 
GOLD  MEDAL.— Eric  Lindberg,  99. 

URUGUAY  SECTION.— 

OIL  PAINTING :— GOLD  MEDAL.— Manuel  Rose,  19. 


XIII. 
THE  EXPOSITION  ILLUMINATED 

First  attempt  to  light  an  exposition  indirectly,  from  concealed 
sources — Notable  success  of  Ryan's  work — Transformation  of 
the  Tower  of  Jewels — Details  of  his  method — Weirdness  of 
the  Court  of  Ages  at  night. 

EAUTIFUL  as  the  Exposition  is  by  day,  it  is  at  night 
that  it  becomes  loveliest  as  a  spectacle.  Then  it  is 
a  great  glow  of  soft  color,  without  shadow,  but  also 
without  garishness.  Never  before  has  the  attempt 
been  made  to  light  an  exposition  as  this  one  is  lighted. 
The  highest  standard  before  attained  was  a  blaze  of  electric  light 
secured  by  outlining  the  buildings  with  incandescent  bulbs.  That 
was  the  work  of  electricians.  Here  the  illuminators  are  artists 
who  have  created  a  great  picture  of  light  and  color. 

There  is  no  blaze  or  glare.  Light  floods  the  Exposition,  but 
from  concealed  sources.  All-pervasive,  seemingly  without  source, 
the  illumination  is  rather  a  quality  of  the  Exposition  atmosphere 
than  an  effect  of  lights.  Nor  is  it  a  white  light.  It  is  softened 
and  tinged  with  the  warmest  and  mellowest  of  colors.  So  mellow, 
indeed,  is  the  illumination  that  it  would  not  even  be  brilliant 
but  for  the  radiance  of  thousands  of  prisms  hung  about  the  great 
Tower  of  Jewels,  the  intense  light  of  which  swathes  the  lofty 
structure  in  a  pure  glow,  at  once  bright  and  ethereal.  (P.  135.) 

Above  the  glow  in  which  the  palaces  are  bathed,  a  pageant 
of  light  and  color  marches  across  the  sky,  a  splendid  aurora 
borealis,  its  bannered  troops  now  wheeling  in  ordered  array,  now 
breaking  their  formation  in  wild  riot,  until  out  of  the  fantastic 
show  huge  beams  of  light  separate  to  pierce  the  heavens. 

This  unique  system  of  illumination,  devised  by  W.  D'A.  Ryan 
expressly  for  the  Panama-Pacific  Exposition,  depends  upon  floods 
of  light  from  concealed  sources.  Around  the  walls  of  the  palaces 
stand  tall  Venetian  masts,  topped  with  shields  or  banners.  Con- 
cealed behind  the  heraldic  emblems  are  powerful  magnesite  arc 
lamps.  These  spread  their  intense  glow  on  the  walls,  but  are 
hardly  recognized  as  sources  of  light  by  the  passer-by  on  the 
avenues.  Batteries  of  searchlights  and  projectors  mounted  on  the 
tops  of  buildings  light  the  towers,  the  domes,  and  the  statuary. 
Even  the  banners  on  the  walls  are  held  in  the  spotlights  of  small 
projectors  constantly  trained  on  them.  That  there  may  be  no 
shadows,  concealed  incandescent  bulbs  light  up  every  corner  and 
angle  of  the  towers,  the  arches,  and  the  cloisters. 


TOWER  OF  JEWELS  AT  NIGHT,  showing  the  system  of  illumination  by  power- 
ful searchlights  placed  on  near-by  buildings.  On  the  right  is  the  south  por- 
tal of  the  Palace  of  Liberal  Arts. 


(  P.  135  ) 


TYMPANUM,  PALACE  OF  VARIED  INDUSTRIES,  south  portal,  represents  Com- 
merce (right),  Labor,  Agriculture  (center) ,  Architecture,  and  Textiles  (left). 
It  is  bii  Ralph  Stackpole. 


TYMPANUM,  PALACE  OF  EDUCATION,  Gaston  Gerlach,  sculptor,  pictures  the 
different  ages  of  learning,  from  infancy  to  maturity. 


(  P.  138  ) 


THE  COURTS  AT  NIGHT  139 

The  ghostly  radiance  of  the  Tower  of  Jewels  comes  from  huge 
searchlights  aimed  at  it  from  a  circle  of  hidden  stations.  The 
many-colored  fan  of  enormous  rays,  the  Scintillator,  which  stands 
against  the  sky  behind  the  Exposition,  is  produced  by  a  search- 
light battery  of  thirty-six  great  projectors  mounted  on  the  break- 
water of  the  Yacht  Harbor.  It  is  manned  nightly  by  a  company 
of  marines,  who  manipulate  the  fan  in  precise  drills. 

Concealed  lights  shine  through  the  waters  of  the  fountains. 
In  the  Court  of  the  Universe  they  are  white,  the  colorless  bril- 
liance of  the  stars;  in  the  Court  of  Seasons  they  are  green,  the 
color  of  nature;  in  the  Court  of  the  Ages  they  are  red,  with  clouds 
of  rosy  steam  rising  around  them.  Writhing  serpents  spout  leap- 
ing gas  flames  on  the  altars  set  around  the  pool  of  the  Ages,  and 
from  other  altars  set  by  the  entrances  of  the  Court  rise  clouds 
of  steam  given  the  semblance  of  flame  by  concealed  red  lights. 
By  the  high  altar  on  the  Tower  of  Ages  the  same  device  is  used 
to  make  the  lights  flame  like  huge  torches. 

The  palaces  themselves  are  not  lighted  at  night,  though  they 
have  the  appearance  of  being  illuminated.  Behind  each  window 
and  doorway  are  hung  strings  of  lights  backed  by  reflectors.  A 
soft  glow  of  light  comes  forth,  giving  animation  to  the  palaces 
and  strengthening  the  picture  outside. 

There  are  two  ways  to  see  the  Exposition  at  night,  both  of 
which  must  be  followed  if  one  is  to  get  the  fullest  appreciation 
of  the  magic  beauty  of  the  lighting.  One  is  to  wander  about  the 
palaces  and  courts  in  the  midst  of  the  soft  flood  of  mysterious 
light,  watching  the  play  of  the  fountains,  the  barbaric  flames  of 
the  Court  of  Ages,  the  green  shimmer  of  the  waters  in  the  Court 
of  Seasons,  the  banners  fluttering  in  strong  white  light,  the  stat- 
uary in  changing  hues  according  to  the  color  screens  used  before 
the  projectors,  the  Aurora  Borealis  above  the  Scintillator  battery. 

The  other  is  from  a  distance.  I  have  seen  the  illuminated 
Exposition  from  the  top  of  Mount  Tamalpais,  whence  it  was  a 
wondrous  spectacle.  But  best  of  all  I  like  to  watch  it  from  the 
hill  at  the  corner  of  Broadway  and  Divisadero  streets.  It  is  best 
to  go  there  early,  before  the  lights  are  turned  on.  Then  you  may 
see  the  wonderful  rosy  glow  of  the  Tower  of  Jewels  and  the  two 
Italian  towers  before  the  white  light  of  the  projectors  is  flashed 
on  them.  Red  incandescents  are  hidden  behind  all  the  columns 
of  the  Tower  of  Jewels  and  concealed  in  each  of  the  Italian 
towers,  as  well  as  in  the  open  spaces  in  and  around  the  dome  of 
Festival  Hall.  These  are  always  turned  on  first.  The  Tower  of 
Jewels  then  glows  with  a  soft  mellow  red,  less  brilliant,  but 
warmer  and  more  colorful  than  its  incandescence  later  on.  The 


140  THE  JEWEL  CITY 

rich  light  wells  up  from  the  Italian  towers  and  Festival  Hall,  and 
spreads  from  all  their  openings  to  stain  the  walls  around  with 
deep  rose. 

Then  the  ray  of  a  searchlight  falls  on  the  Bowman  atop  the 
Column  of  Progress,  silhouetting  that  heroic  figure  in  the  night 
as  though  he  floated  at  a  great  height  above  the  earth.  Beams 
from  other  searchlights  cause  the  Nations  of  East  and  West  to 
stand  out  with  startling  distinctness  on  their  triumphal  arches; 
the  great  bulls  of  the  Court  of  Seasons  glow  against  the  night; 
the  golden  fires  are  lighted  in  the  Court  of  Ages.  The  tall  masts 
around  the  palaces  softly  illuminate  the  walls.  First  one  side 
and  then  another  of  the  Tower  of  Jewels  is  bathed  in  white 
light,  until  the  Tower  stands  out  in  ghostly  radiance.  Two  slender 
shafts  of  light  shoot  upward  on  either  side  of  the  globe  atop 
the  Tower  and  stand  there,  symbols  of  pure  aspiration  reaching 
to  the  heavens.  Behind  it  all  the  huge  and  many-colored  fan  of 
the  Scintillator  opens  in  gorgeous  color  in  the  northern  sky. 

The  illumination  is  at  its  best  on  a  misty  night.  Then  its 
spectacular  effects  become  more  spectacular.  The  moisture  in 
the  air  provides  a  screen  to  catch  the  colored  lights  and  make 
them  visible  in  their  fullest  beauty.  The  Exposition  recognized 
this  need  of  a  background  for  the  great  beams  of  the  Scintillator 
when  it  provided  for  the  clouds  of  steam  that  are  nightly  sent 
floating  upward  through  the  shafts  of  colored  light.  Nothing 
brings  out  the  wonder  of  the  Court  of  Ages  at  night  like  mist  or 
fog.  On  the  first  night  that  all  the  illumination  was  given  a  full 
rehearsal  it  was  raining  slightly.  The  incandescence  of  the  great 
globe  of  the  Earth,  the  leaping  flames  on  the  altars  by  the  pool, 
the  rosy  clouds  over  the  bowls  by  the  entrances  and  from  the 
torches  on  the  high  Altar  of  the  Ages,  became  strange,  mystic, 
almost  uncanny. 

Of  the  beautiful  light  that  falls  upon  the  Palace  of  Fine  Arts 
(P.  131),  I  can  do  no  better  than  to  quote  from  Royal  Cortissoz: 
"At  night  and  illuminated,  it  might  be  a  scene  from  Rome  or 
from  Egypt,  a  gigantic  ruin  of  some  masterpiece  left  by  Emperor 
or  Pharaoh.  The  lagoon  is  bordered  by  more  of  those  heavenly 
hedges  that  I  have  described.  There  are  trees  and  thickets  to 
add  to  the  bewilderment  of  the  place,  to  make  it  veritably  the 
silenzio  verde  of  the  poet.  And  with  the  ineffable  tact  which 
marks  the  lighting  of  the  Fair,  this  serene  spot  is  left  almost,  but 
not  quite,  to  the  dim  loveliness  of  night.  The  glow  that  is  given 
its  full  value  elsewhere  is  here  at  its  faintest.  The  pageant  ends 
in  a  hush  that  is  as  much  of  the  spirit  as  of  the  senses." 


XIV. 
MUSIC  AT  THE  EXPOSITION 

Early  neglect  of  music  by  the  Exposition  management  remedied 
by  the  appointment  of  George  W.  Stewart,  of  Boston,  as  man- 
ager— Engagements  of  Camille  Saint-Saens  and  the  Boston 
Symphony  Orchestra  the  musical  events  of  the  summer — 
Original  compositions  by  the  French  master — Sousa  and  his 
great  band — Other  notable  bands — Lemare's  organ  concerts — 
Splendid  choral  performances  by  famous  organizations — A 
half-million  for  music. 

fUSIC  cannot  be  omitted  from  any  scheme  of  mundane 
celebration.  In  an  exposition  of  the  character  of  this 
one,  where  all  art  has  been  given  so  high  a  place,  this 
gift  of  the  gods  must  assume  an  unusual  importance. 
It  is  important  here,  not  only  as  a  means  of  entertain- 
ment, but  as  a  means  of  cultural  development,  and  as  an  intel- 
lectual factor  in  the  evolution  of  the  race.  This  Exposition  justi- 
fies itself  by  its  storehouses  of  knowledge.  Its  reason  for  exist- 
ance  is  the  permanent  advancement  of  the  people  of  the  world 
in  all  that  art,  science,  and  industry,  can  bring  to  its  palaces  for 
pleasurable  study. 

With  the  agreement  that  a  great  pipe  organ  was  to  be  installed 
in  Festival  Hall,  and  that  orchestras  and  bands  were  to  be  engaged, 
the  early  speculative  musical  labors  of  the  directorate  ended. 
Casual  indeed  was  the  attention  paid  to  music  during  all  of  the 
early  part  of  the  pre-Exposition  period.  Material  interests — and 
there  were  millions  of  them — cried  for  consideration,  while  the 
still,  small  voice  of  music  was  drowned  in  the  clangor  of  con- 
struction. Just  as  music  is  the  last  of  the  arts  to  receive  recog- 
nition at  our  universities,  so  it  was  neglected  here  until  so  much 
time  had  elapsed  that  only  the  most  fortunate  of  accidents  could 
give  song  and  symphony  their  proper  places  among  the  wonders 
that  were  ultimately  to  find  a  home  in  the  Jewel  City.  Fortu- 
nately, accident  for  once  proved  kind;  vigorous  direction  emerged 
fortuitously  from  apathy. 

In  the  early  building  period,  President  C.  C.  Moore  turned  aside 
from  his  other  cares  long  enough  to  appoint  J.  B.  Levison  Chief 
of  the  Music  Department.  A  better  choice  could  hardly  have  been 
made.  For  more  than  two  decades  Mr.  Levison,  an  able  amateur 
in  music,  and  a  business  man  of  high  standing,  had  been  identified 
with  all  of  San  Francisco's  larger  efforts  in  its  musical  life.  But 
Mr.  Levison's  grasp  of  the  importance  of  such  a  post  was  more 


142  THE  JEWEL  CITY 

comprehensive  than  President  Moore's,  for  he  refused  the  position. 
Fortunately,  however,  he  had  his  attention  directed  to  George  W. 
Stewart,  of  Boston,  a  former  artist  of  the  Boston  Symphony 
Orchestra,  a  man  technically  equipped,  who  had  made  a  great  suc- 
cess of  the  music  at  the  St.  Louis  Exposition.  Stewart  was  en- 
gaged, and  to  him  is  due  the  credit  for  the  remarkable  record 
music  has  already  made  at  the  Panama-Pacific  Exposition. 

Aside  from  the  construction  of  the  $50,000  pipe  organ,  which, 
after  the  Exposition,  will  be  placed  permanently  in  the  Civic 
Auditorium,  the  two  most  important  musical  items  found  on  the 
schedule  of  Exposition  enterprises  are  the  engagements  of  Camille 
Saint-Saens  and  the  Boston  Symphony  Orchestra.  The  former, 
who  maintained  that  "Beethoven  is  the  greatest,  the  only  real, 
artist,  because  he  upheld  the  idea  of  universal  brotherhood,"  is 
perhaps  better  fitted  than  any  living  composer  to  write  special 
music  for  the  Exposition.  This  he  has  done, — writing  two  com- 
positions in  fact;  and  their  presentation  has  been  an  outstanding 
feature.  "Hail,  California,"  was  dedicated  to  the  Exposition. 
Scored  for  an  orchestra  of  eighty,  a  military  band  of  sixty,  a 
chorus  of  300  voices,  pipe  organ  and  piano,  its  first  presentation 
was  an  event.  The  Saint-Saens  Symphony  in  C  minor  (No.  3) 
Opus  78,  composed  many  years  ago,  has  become  a  classic  during 
the  life-time  of  its  creator.  It  was  one  of  the  wonders  of  the 
Boston  Symphony  programmes  played  in  Festival  Hall.  Its  yield 
of  immediate  pleasure  and  its  reassurance  for  the  works  of  Saint- 
Saens  to  be  heard  later,  grew  from  the  fact  that  it  was  scored  for 
orchestra  and  pipe  organ,  and  in  this  massive  tonal  web  the  genius 
of  the  composer  to  write  in  magnificent  size  was  overwhelmingly 
evident,  thus  forecasting  the  splendors  of  "Hail,  California." 

The  other  work  written  by  this  visitor  from  Paris  is  in  ora- 
torio form  and  titled,  appropriately,  "The  Promised  Land."  A 
huge  choir  of  400  voices,  directed  by  Wallace  Sabin  and  named  in 
honor  of  the  visitor,  the  "Saint-Saens  Choir,"  rendered  a  good 
account  of  the  ensemble  sections  of  the  choral  composition,  while 
the  Exposition  orchestra  of  80  instrumentalists  and  the  Exposition 
organ  added  effectiveness  to  the  accompaniment.  Sabin  presided 
at  the  organ.  In  addition  to  these  appearances,  the  composer 
conducted  three  recitals  during  the  latter  part  of  June,  when  all 
of  the  compositions  offered  were  his  work. 

The  visit  of  Dr.  Karl  Muck  with  his  Boston  Symphony  Or- 
chestra has  become  a  luminous  memory.  The  trip  is  utterly  new 
in  the  history  of  music  anywhere,  nothing  like  it  ever  before 
having  been  attempted.  It  is  said  that  the  transportation  bills 
alone  amounted  to  $15,000,  and  there  were  no  stop-overs  en  route 


THE  BOSTON  SYMPHONY'S  VISIT  143 

for  concert  performances  to  help  in  defraying  this  bulky  first 
cost.  It  is  proper  to  record  here  the  financial  success  of  the 
venture.  While  the  season  of  twelve  concerts  was  yet  young, 
more  than  $40,000  had  been  taken  in  at  the  box  office,  and  the 
estimated  expenses  of  $60,000  were  liquidated,  with  a  margin  of 
profit.  This  was  enhanced  by  an  extra  concert,  the  thirteenth. 
Tickets  for  the  season  were  sold  in  Chicago,  New  York,  Boston, 
Seattle,  Spokane,  Tacoma,  St.  Louis,  Portland,  Maine,  and  Port- 
land, Oregon,  while  San  Francisco  and  the  bay  communities  in 
general  sent  their  thousands  to  the  glorious  recitals.  The  result 
will  be  seen  in  a  stimulation  of  music  in  the  West. 

But  the  engagements  of  Saint-Saens  and  Dr.  Muck  with  his 
orchestra  do  not  sum  up  the  important  activities  of  the  Expo- 
sition's music.  There  are  other  features  which  challenge  even 
these  in  popular  estimation. 

John  Philip  Sousa  has  spent  a  long  season  at  the  Exposition. 
A  blunder  was  somewhere  made  in  dating  the  arrival  of  the  March 
King  and  his  splendid  instrumentalists,  who  came  while  yet  the 
Boston  Symphonists  were  playing  in  Festival  Hall.  As  a  result 
the  finest  of  bands  was  placed  in  competition  with  the  finest 
of  orchestras.  But  nothing  disastrous  happened.  Those  who 
desired,  to  the  number  of  fifteen  thousand,  heard  Sousa  at  his 
opening  concert  in  the  Court  of  the  Universe;  those  who  desired 
heard  Dr.  Muck's  instrumentalists,  to  the  seating  capacity  of 
Festival  Hall. 

Featured  concerts  have  been  and  are  being  given  by  massed 
bands  composed  of  Sousa's,  Cassasa's,  Conway's  and  other  mili- 
tary or  concert  organizations. 

Briefly,  and  regardless  of  the  importance  of  each  item,  here 
are  some  of  the  attractions  which  make  this  Exposition  vocal  and 
harmonious :  Edwin  Henry  Lemare,  of  London,  by  general  critical 
agreement  declared  the  greatest  living  organist,  is  expected  here 
early  in  September,  when  he  will  begin  his  series  of  one  hundred 
organ  recitals,  to  continue  till  the  Exposition  closes  in  December. 
A  unique  episode  of  the  Exposition  music  must  not  be  overlooked 
in  the  recital  by  Madame  Schumann-Heink,  whose  graciousness 
found  another  expression  in  her  concert  given  exclusively  and 
gratuitously  to  the  children.  More  than  three  thousand  of  the 
little  folk  were  in  Festival  Hall  when  the  grandest  of  singers  sang 
for  them  alone.  The  visit  already  accomplished  of  Gabriel  Pares 
and  his  famous  Republican  Guard  band  of  Paris;  the  engagement 
already  begun  of  the  Ogden  Tabernacle  Choir  of  300  voices;  the 
Eisteddfod  competitive  concerts;  the  long  stay  of  the  Philippine 
Constabulary  band  under  the  leadership  of  Captain  W.  H.  Loving; 


144  THE  JEWEL  CITY 

Emil  Mollenhauer's  big  Boston  band;  the  concerts  of  the  United 
Swedish  Singers;  the  Apollo  Music  Club's  promised  visit  from 
Chicago — the  organization  is  coming  intact  with  all  of  its  250 
vocalists  and  its  distinguished  composer-conductor,  Harrison  M. 
Wild;  La  Loie  Fuller's  spectacles,  and  the  engagement  of  forty 
noted  organists  to  appear  in  Festival  Hall  in  addition  to  Lemare 
and  Clarence  Eddy,  are  a  few  of  the  accomplished  or  promised 
attractions.  To  this  list  must  be  added  the  daily  concerts  given 
gratis  at  different  periods  by  various  bands  other  than  those 
named — the  official  Exposition  band  of  45  players  under  the  sea- 
soned direction  of  Charles  H.  Cassasa;  Thaviu's  splendid  band 
of  50;  Conway's  military  and  concert  band  of  50,  and  others  yet 
to  be  had  in  the  world  of  music  will  be  spread  for  their  delecta- 
concerts  are  booked.  As  proof  of  the  worth  of  these,  let  the 
achievements  of  the  recent  past  speak.  We  have  heard  the  Ala- 
meda  County  1915  Chorus  of  250  voices  under  Alexander  Stewart 
in  a  majestic  performance  of  Handel's  "Messiah;"  the  Exposition 
Chorus  under  Wallace  Sabin  in  a  repetition  of  the  music  sung  as 
part  of  the  opening  day's  celebration — "The  Heavens  are  Telling," 
from  Haydn's  "Creation,"  and  the  official  hymn — "A  Noble  Work" 
— by  Mrs.  H.  H.  A.  Beach;  the  Berkeley  Oratorio  Society  under 
the  inspiring  direction  of  Paul  Steindorff  in  two  splendid  concerts, 
the  first  given  to  Rossini's  "Stabat  Mater"  and  the  second  to 
Brahms'  "German  Requiem;"  and  the  Pacific  Choral  Society's 
performance  of  Haydn's  "Creation"  under  the  musicianly  leader- 
ship of  Warren  B.  Allen.  More  music  may  confidently  be  looked 
for  from  these  rich  sources. 

The  Exposition  authorities  declare  that  half  a  million  dollars 
will  have  been  expended  on  music  before  the  end  of  the  life  of 
the  great  enterprise.  Thus  visitors  to  the  Exposition  may  come 
at  any  period  of  the  Jewel  City's  existence,  knowing  that  the  best 
to  be  had  in  the  world  of  music  will  be  spread  for  their  delecta- 
tion, and  that  they  will  be  afforded  a  comprehensive  view  of  the 
art  of  tone  as  it  exists  today.  In  this  respect  the  Exposition's 
musical  "exhibit"  is  similar  in  its  scope  to  the  revealments  in  all 
its  other  departments;  for  the  Exposition  is  avowedly  devoted  to 
contemporaneous  rather  than  historic  achievements. 

Nothing  that  extends  contemplation  over  a  wider  period  than 
the  last  five  years  is  admitted  for  competitive  exhibition.  The 
modern  composer,  no  less  than  the  modern  inventor,  is  having 
his  day  at  the  Exposition.  This  is  as  it  should  be.  We  are  hear- 
ing, have  heard,  or  will  hear,  the  last  utterances  of  present-day 
musical  creators.  Indeed,  in  the  case  of  one — Saint-Saens — we 
heard,  as  I  have  recounted,  two  massive  compositions  written 


A  RECORD  OF  MUSICAL  PROGRESS  145 

expressly  for  the  Panama-Pacific  International  Exposition,  and 
John  Philip  Sousa  has  bent  his  most  martial  mood  to  the  compo- 
sition of  an  inspiring  march  which  is  called  "Panama."  But 
music  also  enjoys  a  privilege  not  accorded  equally  to  any  other 
department  of  Exposition  display.  The  works  of  the  past,  as 
well  as  the  present,  are  given.  A  history  of  music  at  the  Expo- 
sition properly  written — as  one  surely  should  be — would  be  an 
epitome  of  the  evolution  of  the  art  from  Gherubini,  Haydn  and 
Bach  to  Richard  Strauss,  Saint-Saens  and  Debussy.  It  would 
involve  in  its  telling  the  stories  of  music  in  Italy,  Germany, 
Austria,  England,  France,  Russia,  Scandinavia,  yes,  and  America, 
too!  It  would  include  an  account  of  the  genealogy  of  the  modern 
orchestra  as  exemplified  in  the  Boston  Symphony  or  the  Official 
Symphony,  and  of  military  bands  up  to  the  perfected  concert 
organizations  headed  by  a  Sousa  or  a  Gabriel  Pares.  It  would 
embrace  with  like  inclusiveness  the  history  of  the  pipe  organ 
through  its  stages  of  evolution  from  the  ponderous  instruments 
with  men  straddling  unwieldy  bellows  to  the  marvel  installed 
in  Festival  Hall,  and  it  would  embrace  the  history  of  the  art  of 
organ  music  up  to  such  exemplars  as  our  own  Clarence  Eddy, 
John  G.  McClellan,  Edwin  Lemare,  and  Camille  Saint-Saens.  What 
a  chapter  would  be  set  aside  for  the  record  of  Exposition  choral 
music!  Already  there  has  gone  abroad  from  the  Festival  Hall 
an  impetus  towards  better  chorus  music  that  will,  I  feel  sure, 
firmly  establish  this  somewhat  neglected  department  of  musical 
art  in  the  far  West. 


XV. 
INSIDE  THE  EXHIBIT  PALACES 

All  competitive  exhibits  strictly  contemporaneous,  showing  the 
arts  of  to-day — Revolution  worked  by  the  motion-picture 
theater  in  exhibition  methods — The  lessons  of  Machinery  Pal- 
ace— Coal  and  steam  fast  yielding  to  liquid  fuels  and  water- 
power  and  electricity — Life-saving  devices,  accident  preven- 
tion and  employees'  welfare  made  prominent  in  Palaces  of 
Machinery  and  Mines — A  contrast  in  locomotives — Building  a 
motor  car  every  ten  minutes — Co-operative  exhibits  in  Food- 
Products  Palace — Many  great  displays  by  the  United  States 
Government — Educational  exhibits  not  duplicated,  each  state 
or  city  showing  its  specialty. 


N  ITS  industrial  displays,  as  well  as  its  art,  the  Expo- 
sition keeps  steadily  in  view  the  fact  that  it  com- 
memorates a  contemporary  event;  it  is  contempor- 
aneous, not  historical.  Hence  it  was  decreed  from  the 
first  that  the  exhibits  must  be  the  products  of  the  last 
decade,  a  rule  strictly  observed  save  in  rare  cases  where  older 
forms  have  been  admitted  for  comparison.  The  result  is  two- 
fold. The  exhibits  are  condensed  to  the  essential,  giving  room 
for  a  greater  number  of  exhibitors;  and  the  progress  of  the  world 
is  shown  as  of  today. 

Eleven  palaces  house  the  exhibits,  exclusive  of  live  stock. 
Officially,  the  things  shown  in  the  state  and  foreign  buildings  are 
not  "exhibits,"  but  "displays,"  and  are  not  eligible  for  award.  In 
general,  the  names  of  the  palaces  indicate  the  classes  of  exhibits 
to  be  found  in  them.  No  sharp  line,  however,  can  be  drawn  be- 
tween the  Palaces  of  Manufactures  and  Varied  Industries,  or  be- 
tween Agriculture  and  Food  Products.  In  other  cases  there  is 
some  overlapping  of  classes.  One  section  of  the  Liberal  Arts 
exhibit  is  in  the  Palace  of  Machinery. 

A  striking  feature  of  almost  all  the  palaces,  and  one  that  dif- 
ferentiates this  Exposition  from  its  great  predecessors  of  a  decade 
or  more  ago,  is  the  common  use  of  the  moving-picture  machine 
as  the  fastest  and  most  vivid  method  of  displaying  human  activi- 
ties and  scenery.  Everywhere  it  is  showing  industrial  processes. 
Former  expositions,  for  want  of  this  device,  have  been  mainly 
exhibitions  of  products.  These  have  hitherto  been  shown  in  such 
bulk  as  to  fill  vast  floor  spaces  and  become  a  weariness  to  the 
flesh,  while  it  was  impossible,  from  the  nature  of  things,  to 
exhibit  the  great  primary  industries  of  field,  forest,  sea  and  mine 


THE  GENIUS  OF  CREATION,"  by  Daniel  Chester  French,  before  the  west  portal 
of  the  Palace  of  Machinery,  shows  an  angelic  spirit  in  the  attitude  of  creative 
command,  while  the  man  and  woman  below  represent  the  highest  types  brought 
forth. 


(  P. 147  ) 


THE  AUSTRALIAN  PAVILION,  George  .7.  Oakeshott,  of  Sydney,  architect,  in  its 
frieze  and  tower  symbolizes  the  union  of  the  several  states  in  the  Australian 
Commonwealth. 


THE  CANADIAN  PAVILION,  Humphreys,  Limited,  of  London,  architects,  is  an 
imposing  classic  structure,  and  the  largest  foreign  building  in  the  Exposi- 
tion. Both  of  these  structures  house  splendid  exhibits  of  the  resources  and 
scenery  of  their  countries. 

(  P.  148  ) 


THE  MOTION-PICTURE'S  REVOLUTION  149 

in  actual  operation.  The  motion-picture  machine  has  not  only 
lessened  the  areas  of  products  shown,  thus  making  this  Exposi- 
tion more  compact  than  former  ones;  but  it  has  increased  the 
effectiveness  of  exhibition  methods  by  carrying  the  spectator, 
figuratively,  into  the  midst  of  operations,  and  showing  him  men 
at  work  in  all  the  important  processes  of  agriculture,  in  the  log- 
ging camps,  in  mines  and  fisheries,  as  well  as  in  the  mills  and 
factories  where  the  raw  materials  of  these  basic  industries  are 
worked  into  finished  products.  Its  value  for  showing  scenery, 
too,  is  fully  utilized  here.  Many  of  the  states  and  foreign  coun- 
tries employ  it.  Even  far-away  Siam  uses  it  to  instruct  the  Occi- 
dent concerning  her  resources  and  people.  Counting  those  in  the 
state  and  foreign  buildings,  seventy-seven  free  moving-picture 
halls  are  to  be  found  within  the  Exposition.  Their  efficiency  is 
indicated  by  the  crowds  that  throng  them  daily. 

THE  PALACE  OF  MACHINERY  holds  three  lessons  for  the  ob- 
server. It  shows  not  only  the  state  of  man's  invention  at  the 
present  moment,  the  increasing  displacement  of  coal  by  hydro- 
electric plants  and  liquid  fuels,  but  what  is  perhaps  more  sig- 
nificant, the  changing  direction  of  invention  toward  devices  for 
human  betterment.  The  Diesel  oil  engine  and  multitudes  of 
electrical  machines  stand  for  the  latest  word  in  mechanical  in- 
vention. The  Diesel  again,  with  a  host  of  other  internal  combus- 
tion engines,  the  electric  motors  and  waterpower  plants,  and  the 
absence  of  steam  machines,  bear  witness  to  the  downfall  of  steam. 
But  the  great  space  given  to  safety  devices,  to  labor-saving  ma- 
chines, to  road-making  machinery,  and  to  mechanical  devices  for 
increasing  the  comfort  of  country  life,  are  evidence  of  the  part 
machinery  is  coming  to  play  in  the  task  of  making  life  more 
livable.  As  an  exhibition  of  modern  mechanical  invention,  Ma- 
chinery Hall  is  unique,  as  all  this  Exposition  is  unique.  There 
is  almost  nothing  in  it  that  is  not  the  product  of  the  last  ten  years; 
it  actually  represents  construction  of  the  last  two  years.  Indeed, 
the  wholly  contemporary  nature  of  the  exhibits  leaves  the  visitor 
without  visible  means  of  comparison. 

As  at  the  Centennial  Exhibition  in  1876,  a  prime  mover  is  the 
central  figure  in  the  building.  There  it  was  the  immense  Corliss 
steam  engine.  Here  it  is  a  Diesel,  started  by  President  Wilson  by 
wireless  on  the  opening  day,  and  generating  all  the  direct  current 
used  in  the  palace.  Another  commanding  exhibit  is  a  20,000- 
horsepower  hydro-electric  generator,  significant  of  the  modern 
use  of  water-power.  The  United  States  Government  is  the  largest 
exhibitor  in  the  building,  with  numerous  fine  models  of  warships, 
docks,  dams  and  submarine  mines;  torpedoes,  artillery,  armor 


150  THE  JEWEL  CITY 

plate  and  shells,  army  equipment,  ammunition-making  machinery 
in  operation,  light-houses  and  aids  to  navigation,  and  a  splendid 
set  of  models  illustrating  road-making  methods.  Crowded  out  of 
its  proper  place  in  the  Palace  of  Liberal  Arts,  the  exhibit  of  the 
printing  trades  occupies  a  section  here,  including  a  huge  color 
press  turning  out  illustrated  Sunday  supplements. 

THE  PALACE  OF  MINES  AND  METALLURGY  offers  ample  evi- 
dence of  the  great  figure  which  steel  now  makes  in  the  world,  and 
of  the  vast  extent  of  the  petroleum  industry.  Here,  too,  as  in 
Machinery  Hall,  accident  prevention  is  emphasized.  From  this 
point  of  view  insurance  exhibits  are  not  out  of  place  here.  The 
United  States  Steel  Corporation,  with  its  subsidiary  companies, 
shows  in  this  palace  the  largest  single  exhibit  seen  in  the  Exposi- 
tion, save  those  of  the  United  States  Government.  Noteworthy  are 
its  excellent  models  of  iron-  and  coal-mining  plants,  coke  ovens, 
furnaces,  rolling  mills,  docks,  ships,  and  barges,  and  an  extensive 
section  devoted  to  the  welfare  of  employees,  with  model  play- 
grounds. 

Many  states  and  nations,  and  many  world-famous  mining  com- 
panies are  represented  by  exhibits  of  ores  and  metals,  of  mine 
models,  and  mining  and  metallurgical  processes  in  operation. 
California  shows  a  gold  dredger  and  a  hydraulic  mine  in  opera- 
tion. The  great  copper  mines  of  California,  Montana,  Utah,  and 
Japan,  have  installed  significant  exhibits.  The  United  States  Gov- 
ernment operates  in  this  palace  a  model  mint,  a  model  post  office, 
and  features  a  daily  "mine  explosion,"  with  a  demonstration  of 
rescue  work. 

THE  PALACE  OF  TRANSPORTATION  places  its  emphasis  on 
automobiles  and  roads,  electric  locomotives  and  cars,  and  the 
mammoth  types  of  modern  steam  locomotives.  All  of  these  exhibits 
represent  construction  of  the  last  year,  with  one  exception.  The 
first  Central  Pacific  locomotive  stands  beside  a  Mallet  Articulated 
engine, — an  enormous  contrast.  One  third  of  the  floor  space  is 
filled  with  steam  and  electric  locomotives  and  modern  cars.  Some 
are  sectioned,  and  operated  by  electric  motors,  vividly  illustrating 
the  latest  mechanical  devices.  Another  third  of  the  palace  is 
devoted  to  motor  cars.  The  Ford  Motor  Car  Company  maintains 
a  factory  exhibit  in  which  a  continuous  stream  of  Fords  is 
assembled  and  driven  away,  one  every  ten  minutes. 

Plans  for  a  great  exhibit  of  aeroplanes  were  destroyed  by  the 
war.  The  Exposition,  however,  maintains  a  constant  exhibit  of 
the  spectacular  side  of  aeronautics  in  remarkable  flights  by  famous 
aviators.  After  Lincoln  Beachey  was  killed  in  one  of  these  per- 
formances, his  place  was  taken  by  Arthur  Smith,  who  was  in- 


TWO  GREAT  BIRDMEN  15t 

stantly  crowned  as  a  far  more  dazzling  birdman.  Two  aeroplanes 
are  the  only  representation  in  the  palace.  Steamship  companies 
have  erected  here  sections  of  their  vessels.  Railroads  make  inter- 
esting exhibits  of  scenery  along  their  routes,  of  safety  devices  and 
of  railroad  accessories.  The  Canadian  Pacific,  Grand  Trunk  Pa- 
cific, Great  Northern,  Southern  Pacific,  Union  Pacific,  and  Santa  Fe 
systems  maintain  buildings  of  their  own,  exhibiting  the  scenery, 
agriculture  and  other  resources  of  the  country  through  which  they 
pass. 

THE  PALACE  OF  VARIED  INDUSTRIES  illustrates  the  enor- 
mous complexity  of  modern  material  needs.  Packed  with  severely 
selected  manufactures,  it  is  made  especially  interesting  by  the 
many  processes  shown  in  operation.  Cotton  and  woolen  mills, 
linen  looms,  knitting  machines,  machines  for  weaving  fire  hose, 
a  shoe-making  factory,  a  broom  factory,  and  many  others,  are 
particularly  attractive  because  they  are  engaged  in  making  familiar 
articles.  The  machines  in  use  demonstrate  the  refinements  of 
present-day  manufacturing  processes.  The  factories  of  many 
nations  are  represented  in  this  palace.  Germany  makes  here  her 
largest  exhibit,  notably  of  cutlery  and  pottery. 

THE  PALACE  OF  MANUFACTURES  differs  from  the  Palace  of 
Varied  Industries  as  a  bolt  of  silk  differs  from  a  bale  of  leather. 
Yet  this  general  distinction  between  the  finer  and  the  coarser 
classes  of  factory  products  is  not  rigidly  adhered  to.  The  Palace 
of  Manufactures  is  distinguished  by  a  remarkable  exhibit  of  fine 
wares  by  the  Japanese,  and  another  of  commercial  art  from  Italy. 
Fortunately  this  Japanese  display  is  of  goods  in  the  ancient  style, 
infinitely  more  interesting,  though  less  significant,  than  the  exten- 
sive exhibits  in  other  palaces  of  Japanese  wares  manufactured  in 
competition  with  Western  nations.  Most  beatiful  are  the  ceramics, 
the  lacquered  ware,  and  the  silks.  Great  Britain  is  an  extensive 
exhibitor  of  cutlery,  pottery,  and  textiles.  Manufacturing  proc- 
esses are  shown  in  operation  in  this  palace,  though  less  than  in 
the  Palace  of  Varied  Industries. 

THE  PALACE  OF  LIBERAL  ARTS  found  its  six  acres  of  floor 
space  insufficient.  The  exhibits,  forming  a  remarkable  demonstra- 
tion of  the  breadth  of  applied  science,  embrace  electrical  means  of 
communication,  including  wireless  telegraphy  and  telephony, 
musical  instruments,  chemistry,  photography,  instruments  of  pre- 
cision and  of  surgery,  theatrical  appliances,  engineering,  archi- 
tecture, map-making,  typography,  printing,  book-binding,  paper 
manufacture,  scientific  apparatus,  typewriters,  coins  and  medals, 
and  innumerable  other  articles.  A  great  space  is  occupied  by  talk- 
ing machines  "demonstrated"  in  musical  theatres,  and  by  cameras. 


152  THE  JEWEL  CITY 

The  American  Telegraph  and  Telephone  Company  maintains  trans- 
continental telephone  connection  between  its  theatre  and  New 
York,  and  gives  daily  demonstrations.  The  United  States  Govern- 
ment has  installed  a  great  variety  of  displays.  Most  striking, 
perhaps,  is  the  section  from  the  National  Museum,  where  the  most 
modern  methods  of  exhibition  are  exemplified  in  cases  containing 
human  groups  that  are  almost  real  life.  The  great  pipe  organ  in 
Festival  Hall  is  classed  as  one  of  the  exhibits  of  this  palace.  Ger- 
many, Japan,  China,  the  Netherlands,  Uruguay,  Cuba,  and  New 
Zealand  are  heavy  exhibitors  here.  Of  special  interest  is  the 
German  exhibit  of  radium  and  its  allied  metals. 

THE  PALACE  OF  EDUCATION  AND  SOCIAL  ECONOMY  con- 
tains the  special  educational  exhibits  of  this  Exposition,  which 
itself,  as  a  whole,  is  a  world-university.  Its  striking  features  are 
the  great  number  of  official  exhibits  by  states,  cities  and  foreign 
nations,  and  the  emphasis  laid  on  industrial  and  vocational  educa- 
tion, public  health,  playgrounds,  and  the  training  of  abnormal 
children.  An  educational  exhibit  is  one  of  the  most  difficult  to 
make  vivid  and  interesting  to  the  general  public.  This  palace 
has  succeeded  by  avoiding  duplication.  To  each  state  or  city  was 
assigned  a  special  problem,  as  far  as  possible  the  one  to  which  it 
had  contributed  a  noteworthy  solution.  Thus,  Massachusetts  shows 
her  vocational  methods,  while  Oregon  specializes  on  rural  schools 
as  neighborhood  centers.  Among  the  cities,  St.  Louis  devotes  most 
of  its  space  to  the  educational  museum,  while  Philadelphia  empha- 
sizes central  high  schools.  The  United  States  Government  supplies 
a  branch  of  its  Children's  Bureau,  with  daily  conferences  for 
parents.  Among  the  many  instructors  who  have  been  engaged  to 
conduct  classes  in  the  palace  is  Dr.  Maria  Montessori,  who  is  to 
give  a  course  of  lessons  based  on  her  famous  system.  The  Philip- 
pine exhibit  shows  that  Americans  have  developed  in  the  Islands 
a  system  of  practical  education  which  American  teachers  should 
study. 

THE  PALACE  OF  AGRICULTURE  is  an  instructive  presentation 
of  modern  farm  methods,  as  well  as  of  raw  products  of  the  soil. 
It  shows  admirably  the  great  advance  in  agriculture  in  the  United 
States,  giving  due  space  to  the  work  and  influence  of  the  state 
agricultural  colleges.  Particularly  impressive  is  the  array  of  farm 
machinery  and  the  wide  application  to  it  of  the  gasoline  motor. 
After  seeing  it,  one  wonders  what  place  is  left  on  the  farm  for  the 
horse.  The  fundamental  nature  of  agriculture  has  brought  more 
states  and  foreign  countries  into  this  palace  than  are  represented 
in  any  other.  A  significant  representation  is  that  of  the  Philip- 
pines, an  exhibition  of  enormous  natural  resources.  Its  display  of 


PURE-FOOD  METHODS  AND  PRODUCTS  153 

fine  hardwoods  is  the  finest  ever  made  by  any  country.  Similar 
exhibits  of  Argentina  and  New  Zealand  are  also  excellent.  Fores- 
try takes  a  large  place  in  this  palace,  the  United  States  Govern- 
ment making  a  big  forestry  exhibit  in  addition  to  the  great  general 
display  of  the  Department  of  Agriculture. 

THE  PALACE  OF  FOOD  PRODUCTS  is  a  temple  of  the  tin  can 
and  the  food  package.  It  is  made  one  of  the  most  interesting  of 
all  the  Exposition  buildings  by  its  numerous  processes  in  operation. 
A  large  part  of  it  is  really  a  factory,  turning  out  before  the  visitor's 
eyes  the  different  familiar  edibles  of  the  magazine  advertisements. 
A  mint  of  money  must  have  been  spent  by  these  exhibitors.  A 
flour  company,  for  example,  has  installed  a  complete  mill  in  which 
flour  is  manufactured,  and  then  made  into  many  kinds  of  cakes 
and  pastries  by  a  row  of  cooks  of  various  nations.  A  bakery  in 
connection  with  this  mill  turns  out  400  loaves  at  a  baking.  As  in 
every  exposition,  visitors  crowd  the  booths  where  edible  samples 
are  distributed.  After  viewing  many  such  scenes,  a  local  humorist 
dubbed  this  building  "the  Palace  of  Nibbling  Arts." 

The  new  idea  of  co-operation  among  manufacturers  appears  in 
a  number  of  collective  exhibits.  California  wine  producers  have 
united  in  a  splendid  display,  far  more  impressive  than  could  be 
made  by  an  individual.  The  Pacific  Coast  fisheries  have  joined  in 
an  elaborate  exhibit  of  every  sort  of  tinned  fish.  The  United 
States  Bureau  of  Fisheries  maintains  an  extensive  aquarium  of 
fresh-  and  salt-water  fishes.  The  State  of  Washington  has  another, 
with  a  salmon  hatchery  in  operation.  Modern  production  of  pure 
food  is  greatly  emphasized.  In  a  building  of  its  own,  a  Pacific 
Coast  condensed  milk  concern  operates  a  good-sized  factory, 
using  the  milk  of  its  herd  of  pure-bred  Holsteins,  kept  in  the  Live- 
stock section. 

THE  PALACE  OF  HORTICULTURE,  with  its  gardens,  has  been 
planned  with  a  three-fold  purpose, — to  appeal  with  equal  interest 
to  the  tourist,  the  student,  and  the  business  man.  Its  exhibits  by 
states  and  foreign  nations  picture  the  gardens  and  orchards  of 
the  world.  Its  factory  installations  exhibit  actual  processes  of 
preparing  and  preserving  fruit  and  vegetable  products.  Under  the 
great  dome  are  the  Cuban  and  Hawaiian  collections  of  tropical 
plants  and  flowers,  already  described  in  the  chapter  on  the  South 
Gardens.  In  the  flanking  rooms  are  displays  of  orchids  and 
aquatic  plants.  In  the  main  hall  Luther  Burbank  shows  his  crea- 
tions. An  exhibit  of  fresh  fruits  in  season  is  maintained.  The 
gardens  outside  show  plants  and  shrubs  from  many  states  and 
countries,  including  the  great  exhibit  of  the  Netherlands  Board  of 
Horticulture. 


XVI. 
THE  FOREIGN  PAVILIONS 

Buildings  characteristic  of  the  nations  represented — Many  adapta- 
tions of  famous  old-world  structures — Younger  countries 
build  expressions  of  their  progress — Noteworthy  pavilions  of 
France,  Holland,  and  the  Scandinavian  kingdoms — Italy's  mas- 
terpiece in  historic  architecture — Argentina,  Bolivia  and  other 
Latin-American  republics  well  represented — Canada  and  Aus- 
tralia present  fine  buildings  and  splendid  exhibits — China  and 
Japan  reproduce  renowned  gardens,  temples  and  palaces — 
Rich  treasures  of  art  and  industry  shown  by  many  countries. 

JLMOST  all  the  twenty-one  foreign  pavilions  at  the 
Exposition  are  characteristic  of  the  architecture  of 
the  nations  that  built  them.  Some,  like  the  unique 
Japanese  temple  or  the  beautiful  French  pavilion,  are 
reproductions  of  famous  old-world  buildings.  The 
three  fine  Scandinavian  pavilions  reflect  notable  types  of  national 
architecture.  Italy's  delightful  group,  which  is  the  most  note- 
worthy of  all,  is  for  every  one  who  has  visited  that  country  an 
epitome  of  her  most  interesting  historic  palaces,  rich  in  the  art  of 
the  Renaissance.  The  buildings  of  the  newer  countries,  like  Canada 
or  the  Argentine,  which  have  not  yet  had  time  to  develop  char- 
acteristic styles  of  their  own,  are  admirable  expressions  of  their 
progress  and  prosperity. 

ARGENTINA.— The  Argentine  Pavilion  is  really  a  palace.  It  is 
the  work  of  Sauze,  a  celebrated  architect  of  Buenos  Aires,  in  the 
style  of  the  French  Renaissance.  (See  p.  169.)  The  Argentino 
exhibits,  with  the  exception  of  dioramas,  moving  pictures,  and 
photographs,  are  in  the  Exposition  palaces.  The  pavilion  is  the 
center  for  the  social  functions  of  the  Commission. 

Both  exterior  and  interior  of  the  building  illustrate  the  amaz- 
ing progress  of  the  South  American  republic  in  art,  as  its  exhibits 
in  the  Exposition  palaces  exemplify  its  advancement  in  industry 
and  commerce.  The  entrance  opens  into  a  noble  hall,  imposing  in 
its  simplicity.  In  the  clerestory  the  walls  are  decorated  with  fine 
murals  by  the  brush  of  the  Argentine  artist,  Colivadeno, — works 
which  show  that  Argentine  art  has  the  beauty,  freshness  and  vigor 
of  the  nation  from  which  it  springs.  In  the  center  of  the  hall  is  an 
exquisite  bit  of  sculpture. 

On  left  and  right  the  foyer  opens  into  a  fine  reception  hall  and 
a  graceful  refreshment  room.  In  the  rear  is  a  theater,  where  mov- 
ing pictures  of  Argentine  scenes  are  shown  daily.  In  the  wall  of 


ARGENTINE  AND  AUTRALIAN  PAVILIONS  155 

the  corridor  surrounding  the  theater  on  the  first  floor  are  excellent 
panoramas  showing  scenery  and  resources.  Among  these  is  a  view 
of  the  famed  Iguazu  Falls,  the  greatest  and  most  magnificent  water- 
fall on  the  globe.  In  the  corridor  upstairs  are  other  panoramas,  a 
series  of  photographs,  and  a  collection  of  graphic  charts  which 
show  the  commerce,  finance,  industry,  administration,  education 
and  social  service  of  the  republic.  The  second  floor  ends  at  the 
rear  in  a  beautiful  library. 

The  pavilion  was  built  entirely  of  materials  brought  from 
Buenos  Aires,  and  constructed  by  Argentine  workmen. 

AUSTRALIA. — The  Australian  Pavilion,  at  the  Presidio  entrance 
to  the  Exposition,  was  designed  by  George  J.  Oakeshott,  P.  I.  A. 
N.  S.  W.  (P.  148.)  Obviously  it  is  intended  to  symbolize  the  indus- 
trial cohesion  of  the  six  Australian  States,  New  South  Wales,  Vic- 
toria, Queensland,  South  Australia,  West  Australia,  and  Tasmania. 
The  facade  bears  below  the  cornice  the  titles  of  the  states,  with 
the  state  banner  waving  from  a  staff  above.  All  are  subordinated 
to  the  central  tower,  floating  the  flag  of  the  Commonwealth. 

Because  its  exhibits  are  eloquent  of  the  resources  of  the  great 
young  country,  the  Pavilion  has  been  described  aptly  as  "the  shop- 
window  of  the  Commonwealth."  The  building  is,  in  fact,  a  huge 
sample  room;  and  although  the  large  states  only,  New  South  Wales, 
Victoria  and  Queensland,  provided  the  display,  each  section  is 
adequately  representative  of  all  Australia  produces.  Tropical 
fruits  and  other  products  from  the  northeast  combine  with  the 
horticultural  and  agricultural  products  of  the  temperate  zone. 
Minerals  from  the  rich  fields  of  all  the  states  are  grouped.  The 
opals  and  gems  from  White  Cliffs  and  Lightning  Ridge  in  New 
South  Wales  vie  with  other  precious  stones  from  Queensland  in 
forming  one  of  the  great  attractions.  Handsome  building  stones, 
including  exceptional  marble,  are  side  by  side  with  samples  of  the 
world-famous  hardwoods  and  the  scarcely  known  but  beautiful 
cabinet  woods  from  the  Australian  forest,  while  the  pastoral  areas 
have  provided  wonderful  collections  of  wool,  leathers,  meat  and 
by-products.  The  agricultural  exhibits  have  attracted  much  atten- 
tion, and  were  so  arranged  as  to  show  the  productiveness  of  irri- 
gated areas  as  well  as  of  the  country  generally.  Carefully  pre- 
pared literature,  distributed  liberally,  has  been  a  feature  of  the 
efforts  of  the  Australians.  The  commissioners  have  made  it  their 
boast  that  nothing  has  been  exaggerated;  everything  is  "real." 
Even  art  critics  who  visit  the  pavilion  will  not  be  disappointed, 
for  on  the  walls  they  will  find  many  paintings  of  merit  by  Austra- 
lian artists,  including  loan  collections  from  the  National  Gallery  of 
New  South  Wales  and  the  Victorian  Art  Society. 


156  THE  JEWEL  CITY 

The  Australian  exhibits,  unlike  those  of  most  other  countries, 
have  been  grouped  in  this  building,  instead  of  being  shown  in  the 
various  Exposition  palaces. 

BOLIVIA. — Bolivia  has  erected  one  of  the  most  essentially 
national  pavilions  at  the  Exposition,  an  admirable  building  that 
expresses  equally  the  two  elements  of  its  population,  the  Spanish 
and  the  Indian.  The  building  is  Spanish  in  its  solid  rectangular 
plan;  its  entrance  is  copied  from  the  portal  of  the  Church  of  San 
Lorenzo,  and  its  central  patio  fashioned  after  that  of  the  old  mint 
at  Potosi.  It  is  Indian  in  the  curious  carved  work  of  the  facade 
and  the  monoliths  flanking  the  entrance,  both  being  exact  copies 
of  ceremonial  temple  stones  from  the  lake  region  of  Bolivia.  The 
building  was  designed  by  Dr.  Calderon  of  the  Bolivian  Commission 
and  Albert  Farr  of  San  Francisco. 

Tropical  plants  and  fruits  are  shown  in  the  brick-paved  patio. 
The  rooms  in  the  interior  include  a  moving-picture  theater,  an  art 
gallery  and  museum,  with  pictures  by  Bolivian  artists,  and  relics 
of  the  civilization  of  the  Incas.  The  national  exhibits  are  shown 
in  the  Exposition  palaces. 

CANADA. — The  Canadian  Pavilion  is  the  largest  of  the  foreign 
buildings,  and  the  best  example  at  the  Exposition  of  business- 
like advertising  by  a  government.  (P.  148.)  Planned  by  a  per- 
manent commission  which  has  had  fifteen  years  of  exposition 
experience,  the  Canadian  exhibit,  down  to  the  last  detail,  is  de- 
signed to  advertise  the  country.  Even  the  site,  at  the  junction  of 
the  highways  leading  to  the  Live-Stock  Section,  was  chosen  to  get 
the  largest  number  of  the  kind  of  visitors  Canada  is  most  anxious 
to  greet.  The  architects  were  Humphreys,  Limited,  of  London. 

Architecturally,  the  building  is  mixed  classic,  finished  in  the 
Exposition  travertine.  The  maple  leaf  of  Canada  appears  in  me- 
dallions on  the  walls,  the  royal  arms  of  Britain  over  the  entrances, 
and  the  British  lion  on  either  side  of  the  approaches.  Canada's 
entire  exhibit  is  here.  Her  commission  cares  nothing  for  awards, 
but  is  concerned  solely  with  attracting  settlers  and  capital. 

With  this  in  view,  the  chief  feature  of  the  display  consists  of 
Canadian  landscapes,  illustrating  the  agricultural,  lumbering, 
mining,  and  shipping  interests  of  British  North  America.  The 
scenes  are  set  to  produce  a  remarkable  perspective.  The  beholder 
seems  to  stand  on  rising  ground,  looking  away  over  miles  of 
country.  In  each  view  the  foreground  is  enlivened  with  real 
water  and  either  living  or  moving  things.  There  is  a  panorama  of 
the  great  wheat  fields  bordering  on  Lake  Superior.  Trains  move 
from  grain  elevators  in  the  interior  to  the  docks  on  the  lake,  where 
model  steamers  ply  on  real  water.  Electricity  supplies  the  power. 


PAVILION  OF  THE  NETHERLANDS,  gay  with  towers  and  flagstaffs,  embodies 
recent  ideas  in  Dutch  architecture.  It  was  designed  by  K.  Kromhout,  of 
Amsterdam. 


THE  FRENCH  PAVILION,  by  Henri  Guillaume,  of  Paris,  is  a  reproduction  of 
the  Palace  of  the  Legion   of  Honor. 


(  P.  157  ) 


'THE  THINKER,"  by  Augusts  Rodin,  in  the  court  of  the  French  Pavilion.     A  colossal 
bronze  figure  of  primitive  man  struggling  with  the  mysteries  of  Creation. 


(  P.  158  ) 


A  COURT  IN  THE  ITALIAN  PAVILION.  This  fascinating  group  of  buildings  beau- 
tifully recalls  in  its  antique  architecture  some  of  the  most  celebrated  palaces  of 
the  Italian  Renaissance. 


(  P.  159  ) 


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O  .2 


CANADA'S  SPLENDID  DISPLAY  161 

The  largest  scene  of  all  is  of  Canada  as  it  was  and  as  it  is.  The 
foreground  represents  the  North,  when  the  Indian  and  the  game 
had  it  to  themselves.  In  the  background  the  visitor  looks  for  miles 
down  a  broad  Canadian  valley  filled  with  wheat  fields  and  pleas- 
ant farms.  Canada's  wild  life  is  represented  in  the  foreground 
by  splendid  stuffed  specimens,  from  the  bear  and  the  moose  and 
the  musk-ox  to  the  marten  and  the  muskrat,  and  from  the  great 
gray  honker  to  the  humming-bird.  On  the  right,  in  a  forest  scene, 
is  a  beaver  pond  with  dam  and  house,  where  the  real  beavers 
splash  in  the  water.  On  the  left  of  the  scene,  where  a  cascade 
tumbles  into  it,  is  a  pool  of  Canadian  trout,  maintained  in  the 
wonted  chill  of  their  native  waters  by  an  ice-making  plant  under 
the  scenery.  Canada  hopes  to  draw  wealthy  sportsmen  and  vaca- 
tionists, who  will  then  see  for  themselves  the  opportunities  for 
investment.  Some  of  her  largest  enterprises  have  begun  thus. 

The  Canadian  Pavilion  makes  no  provision  for  social  functions, 
but  it  is  an  attractive  place,  where  everyone  is  welcomed.  By  com- 
mon consent  Canada  has  made  the  most  effective  exhibit  of  its 
kind  at  the  Exposition. 

CENTRAL  AMERICA. — Guatemala,  Honduras  and  Panama  have 
each  erected  pavilions  characteristic  of  Central  American  archi- 
tecture. The  Guatemalan  Pavilion  houses  a  display  of  the  prod- 
ucts of  the  forests,  fields,  and  mines  of  the  country,  with  coffee 
as  its  most  notable  exhibit.  A  native  marimba  band  playing  Gua- 
temalan airs  makes  complete  the  Central  American  spirit  of  this 
pavilion.  The  Pavilion  of  Honduras,  which  might  have  been 
brought  entire  from  Central  America  by  a  genie,  contains  a  display 
of  laces,  woven  hats,  tropic  ferns  and  flowers. 

CHINA. — The  Imperial  Audience  Hall  of  the  Forbidden  City  at 
Peking  is  reproduced  in  miniature  in  the  three  government  build- 
ings of  the  Chinese  compound  at  the  Exposition.  The  central 
pavilion  is  modeled  after  the  great  hall  where  for  three  centuries 
the  Manchu  emperors  gave  audiences.  The  two  flanking  structures, 
both  alike,  are  copies  of  the  buildings  where  court  officials  and 
the  delegations  awaited  the  coming  of  the  Son  of  Heaven  to  the 
throne  room.  The  pagoda  and  the  tower  at  the  left  and  right  of 
the  entrance  are  likewise  copies  of  structures  in  the  Forbidden 
City.  All  the  buildings  were  constructed  by  native  artisans, 
brought  over  from  China  for  the  purpose.  The  flag  of  the  Republic 
floats  from  the  tower,  its  colors  from  top  to  bottom  standing  in 
order  for  Manchuria,  South  China,  Tibet,  and  Mongolia.  The 
ancient  dragon  is  absent,  banished  by  the  spirit  of  New  China. 

Within  the  three  government  pavilions  are  magnificent  carv- 
ings, vases  and  lacquered  furniture,  old  prints  and  paintings  on 


162  THE  JEWEL  CITY 

silk.  The  priceless  collection  of  the  latter,  shown  here  and  in  the 
Chinese  section  of  the  Fine  Arts  Palace,  is  the  finest  in  the  world, 
the  property  of  a  Chinese  collector.  Its  pictures  are  a  complete 
representation  of  Chinese  painting  for  more  than  a  thousand 
years.  China  is  represented  by  exhibits  in  all  the  Exposition  pal- 
aces, the  most  extensive  participation  by  any  foreign  country. 

CUBA. — The  Cuban  Pavilion,  designed  by  Francisco  Centurion, 
is  a  good  example  of  Spanish-American  architecture.  It  is  dis- 
tinguished by  a  square  tower  at  one  corner,  a  wide  portico,  roof 
of  Spanish  tile,  and  a  central  patio,  designed  for  receptions.  On 
the  second  floor  is  a  great  ballroom  approached  by  a  splendid 
stairway  in  the  old  Spanish  style.  Cuba's  most  striking  exhibit  at 
the  Exposition  is  the  display  of  tropical  plants  and  flowers  in  the 
Palace  of  Horticulture. 

DENMARK. — Denmark,  like  the  two  other  Scandinavian  coun- 
tries, has  made  her  pavilion  characteristic  of  her  own  national 
architecture.  Though  not  in  any  sense  a  reproduction,  the  build- 
ing finds  its  motive  in  Hamlet's  Castle  of  Kronberg  at  Elsinore.  The 
architect  has  softened  the  grimness  and  bulk  of  the  ancient  fort- 
ress into  a  pleasing  building,  that  has  the  spirit  of  the  gray  land  by 
the  German  Ocean,  and  the  solid  character  of  the  Danes.  The  dim 
past  appears  in  the  great  gravestones  on  the  grounds,  copies  of 
monuments  on  ancient  Danish  barrows. 

In  the  entrance  is  a  tiled  lobby,  with  the  information  bureau. 
Beyond  is  the  "Garden  Room,"  so  styled  because  of  its  exquisite 
furnishings  and  abundance  of  cut  flowers.  To  the  left  is  a  recep- 
tion room,  done  in  massive  Danish  decoration,  with  Danish  woods 
and  Danish  furniture.  A  handsome  cabinet  of  mahogany  and  ham- 
mered silver  is  its  most  striking  piece.  Other  rooms  also  contain 
wonderful  antique  furniture.  An  assembly  room  with  a  raised 
dais,  and  mural  decorations  suggestive  of  Danish  industry  and 
commerce,  is  in  the  northeast  corner.  The  building  contains  a 
number  of  paintings  by  Danish  masters  that  are  of  great  interest 
and  value. 

Funds  for  this  pavilion  were  contributed  by  Danish  residents 
of  California.  The  Danish  Government  supplied  the  furnishings. 
No  commercial  displays  are  in  the  building. 

FRANCE. — The  Pavilion  of  France  is  a  replica  of  the  eighteenth- 
century  home  of  the  Prince  de  Salm,  at  Paris,  now  and  for  more 
than  a  century  the  Palace  of  the  Legion  of  Honor.  (P.  157.)  The 
original  building,  in  the  soberer  mode  of  the  French  Renaissance, 
was  of  Caen  stone,  the  effect  of  which  has  been  reproduced  in  the 
present  construction.  The  erection  of  this  pavilion  marks  a  rec- 
ord in  work  of  such  magnitude.  On  the  outbreak  of  the  war,  all 


TREASURES  OF  ART  IN  FRENCH  PAVILION  163 

thought  of  participating  in  the  Exposition  was  dropped;  but  later 
the  American  ambassador,  Mr.  Herrick,  succeeded  in  persuading 
the  French  Government  to  reconsider  its  decision.  The  plans  were 
cabled  from  Paris,  at  a  cost  of  $10,000,  and  the  structure  was  com- 
pleted in  sixty  days. 

More  notable  than  the  building  itself,  or  its  priceless  contents, 
is  the  fact  that  these  are  here.  That,  in  the  midst  of  war  and  its 
demands,  France  should  still  find  time  for  the  ideal,  and  for  this 
beautiful  tribute  to  the  long-standing  friendship  between  the  two 
countries,  is  a  demonstration  of  French  spirit  and  of  French  cul- 
ture that  will  not  escape  the  attention  of  any  thoughtful  American. 
For  France  herself,  as  it  has  well  been  said,  her  appearance  here 
means  as  much  as  a  victory  on  the  battlefield. 

The  French  Pavilion  is  a  dignified  and  impressive  structure,  as 
those  who  recall  the  Legion  of  Honor  Palace  in  Paris  will  under- 
stand. The  entrance  to  the  court  is  a  triumphal  arch  flanked  by 
double  rows  of  Ionic  columns  on  either  side,  with  figures  of  Fame 
as  spandrels.  The  arch  is  connected  by  lateral  peristyles  with  the 
wings  of  the  pavilion,  the  attics  of  which  are  adorned  with  bas 
reliefs.  Ionic  colonnades  extend  along  the  sides  of  the  court  to 
the  principal  front  of  the  building,  which  is  decorated  with  six 
Corinthian  columns,  forming  a  portico  for  the  main  entrance.  The 
portal  opens  on  a  stage,  above  which  a  great  central  hall,  flanked 
by  lesser  halls,  extends  back  through  the  palace. 

But  the  glory  of  the  building  is  in  its  exhibits.  France  poured 
out  the  treasures  of  the  Louvre,  the  Luxembourg  and  the  National 
Museum  to  adorn  this  pavilion.  Fine  as  is  the  exhibit  in  the  French 
section  of  the  Palace  of  Fine  Arts,  the  best  pictures  and  sculptures 
are  shown  here.  In  the  Court  of  Honor  stands  the  masterpiece  of 
the  master  sculptor  of  modern  times,  "The  Thinker,"  by  Auguste 
Rodin.  (P.  158.)  In  the  galleries  are  his  "John  the  Baptist"  and 
other  important  bronzes.  Vast,  unique  and  of  the  greatest  interest 
is  Theodore  Riviere's  wonderful  group  in  bronze  representing  a 
triumphant  band  of  desert  soldiers  dragging  captive  the  Moroccan 
pretender,  secured  in  an  iron  cage.  There,  too,  are  splendid  paint- 
ings by  Monet,  Meissonier,  Detaille,  de  Neuville,  and  many  other 
French  artists  approved  by  time.  Magnificent  old  tapestries  adorn 
the  walls  of  the  great  hall,  with  modern  hangings  on  the  entrance 
stage.  Two  shrines  hold  relics  of  Lafayette  and  Rochambeau,  sent 
by  their  descendants;  and  busts  of  Washington  and  Franklin  stand 
on  either  side  of  the  heroic  figure  of  France  at  the  entrance. 

French  manufacturers  have  sent  here  those  commercial  articles 
which  French  taste  elevates  almost  to  the  standards  of  Art.  Exquis- 
ite products  of  the  jeweler,  the  perfumer,  the  milliner  and  the  cos- 


164  THE  JEWEL  CITY 

turner,  with  fine  fabrics  that  make  France  famous,  are  shown  in 
the  wings  beside  the  Court  of  Honor.  But  the  greater  part  of  the 
French  industrial  exhibits  are  in  the  Exposition  palaces. 

BELGIUM  also  finds  her  place  in  the  French  pavilion,  with  an 
exhibit  of  great  interest,  including  many  admirable  modern  paint- 
ings, fine  panoramas  of  Antwerp,  Ghent  and  Bruges,  and  a  collec- 
tion of  rare  old  laces  that  will  delight  the  heart  of  every  woman. 

GREECE. — The  Greek  Pavilion  represents  the  latest  addition  of 
a  foreign  nation  to  the  Exposition  family.  The  building  was  begun 
by  the  Kali  Syndikat,  a  German  corporation,  forced  by  the  war  to 
abandon  its  undertaking.  In  April,  1915,  the  Greek  government 
bought  the  building  and  finished  it  in  classic  style.  Its  exhibits 
include  two  hundred  and  fifty  replicas  of  the  most  famous  of 
ancient  Grecian  sculptures. 

ITALY. — Though  other  countries  have  built  pavilions  charac- 
teristic of  their  soil  and  people,  or  have  lavished  their  money  on 
splendid  examples  of  exposition  architecture,  it  has  remained  for 
Italy  to  present  in  a  single  group  a  summary  of  the  best  that  art 
has  produced  in  a  national  history  of  two  thousand  years.  (P.  159.) 
The  Italian  Pavilion  does  not  attempt  to  reproduce  any  one  archi- 
tectural masterpiece.  It  echoes  many.  Therein  is  the  triumph  of 
the  architect.  Without  copying,  Piacentini  has  suggested  in  this 
building  much  that  is  famous  in  the  architecture  of  Florence, 
Venice,  and  Rome.  It  is  itself  a  masterpiece. 

The  Italian  Pavilion  is  an  irregular  group  of  seven  structures, 
all  connected  by  arcades  except  the  last  building  to  the  east,  a 
moving-picture  hall.  The  main  entrance  is  at  the  west,  where  a 
broad  low  flight  of  steps  leads  up  to  a  plaza  between  two  tall  build- 
ings irregularly  placed.  That  on  the  right,  in  Fifteenth  Century 
style,  contains  the  offices  of  the  Commission.  The  hall  on  the  left, 
reminiscent  of  the  Bargello,  is  devoted  to  a  splendid  collection  of 
antique  Roman,  Grecian,  and  Italian  art,  shown  by  Signor  Canessa. 
On  either  side  of  the  entrance  is  a  Roman  "Discus  Thrower"  in 
bronze.  The  Bargello  hall  is  connected  by  an  arcade  with  a  square 
Etruscan  tower,  which  in  turn  is  similarly  joined  with  other  build- 
ings that  close  the  plaza  on  the  east.  In  the  rectangle  between  the 
two  parallel  buildings  on  the  east,  is  a  beautiful  peristyled  Vene- 
tian court,  adorned  with  bronzes  and  marbles  copied  from  orig- 
inals in  the  Museum  of  Naples.  In  the  center  is  a  reproduction  in 
stone  and  bronze  of  the  well  of  the  Palace  of  Campo  San  Giovanni 
e  Paolo  at  Venice. 

Of  the  two  parallel  buildings  on  either  side  of  this  court,  the 
southern  one  is  a  Florentine  structure  containing  a  single  hall 
devoted  to  purely  governmental  exhibits.  The  Tribuna  between 


ITALY  REPRODUCES  HISTORIC  PALACES  165 

the  two  is  the  sanctuary  of  the  pavilion,  containing  the  portraits 
of  King  Victor  Emmanuel  and  Queen  Margherita,  and  portraits 
and  relics  of  the  great  of  Italy,  explorers  from  Columbus  to  the 
Duke  of  the  Abruzzi,  scientists  like  Galileo,  Galvani,  Volta  and  Mar- 
coni, statesmen  like  Mazzini,  and  soldiers  like  Garibaldi.  The  other 
principal  hall  contains  a  series  of  rooms  representing  the  cities  of 
Italy  during  the  Renaissance.  First  from  the  east  is  a  reproduction 
of  the  Fifteenth  Century  library  of  the  sacristy  of  the  Church  of 
Santa  Maria  alle  Grazie  at  Milan,  a  chamber  of  beautiful  armoires 
of  carved  wood,  with  panels  painted  with  sacred  pictures  in  col- 
ors. Next  is  a  Neapolitan  room,  filled  with  reproductions  in  bronze 
and  silver  and  marble  of  the  Pompeiian  treasures  of  the  Museums 
of  Naples  and  Rome.  Then  comes  the  Florentine  Room,  furnished 
in  Fifteenth  Century  style  with  carved  and  inlaid  wood,  and 
adorned  with  copies  of  the  best  bronzes  and  marbles  of  the  great 
mediaeval  city.  There  is  also  a  dining  room  in  Fourteenth  Cen- 
tury Florentine  style,  and  then  comes,  at  the  western  end,  the 
Royal  Salon,  a  magnificent  hall  with  ceilings  in  blue  and  gold,  and 
murals  by  Pieretto  and  Bruno  Ferrari. 

All  the  art  works  of  the  mediaeval  rooms  are  copies  of  orig- 
inals, but  in  the  Bargello  Hall,  Signor  Canessa,  who  was  J.  P.  Mor- 
gan's European  agent,  shows  his  collection  of  veritable  Italian  and 
ancient  art.  Here  are  many  things  familiar  through  books,  Michel- 
angelo's bust  of  the  Virgin;  a  cabinet  full  of  reliquaries  and  pro- 
fane vessels  in  crystal,  gold  and  enamel  done  by  Benvenuto  Cellini; 
the  bronze  Bacchante  with  silver  eyes  which  was  dug  up  in  the 
gardens  of  the  Persian  embassy  at  Stamboul,  and  which  dates  from 
the  Third  Century  B.  C.;  the  famous  portrait  bust  in  rock-crystal 
of  an  Egyptian  king  of  the  Eighteenth  Dynasty;  madonnas  and 
saints  by  Fifteenth  Century  painters;  a  complete  garden  set,  foun- 
tain, statues  and  all,  from  a  Pompeiian  villa;  Greek  bronze  and  sil- 
ver vessels  and  statuettes;  Bernini's  bust  of  the  Cardinal  de  Medici; 
Fifteenth  Century  tapestries,  and  so  many  other  objects  of  mediae- 
val and  ancient  art  that  a  spceial  catalogue  has  been  prepared  to 
describe  them. 

Italy's  modern  painting  and  sculpture  are  well  represented  in 
the  Palace  of  Fine  Arts,  and  her  industrial  and  commercial  exhibits 
are  in  the  other  palaces. 

JAPAN. — Japan  has  chosen  her  temple  and  palace  gardens  as 
the  types  to  represent  her  at  the  Exposition.  (P.  169.)  She  dug 
up  the  Mikado's  private  garden  at  the  end  of  the  sacred  Red  Bridge 
in  Nikko,  trees,  shrine,  rocks,  greensward  and  soil,  and  set  it  down 
again  on  the  Exposition  grounds.  So  doing,  she  has  shown  the 
Western  world  a  lesson  in  the  beauty  of  simplicity.  The  central 


166  THE  JEWEL  CITY 

building  in  this  charming  garden  is  a  copy,  enlarged,  of  the 
Golden  Pavilion  of  the  Roku-on-ji  Temple  in  the  city  of  Nara.  It 
is  of  plain  wood  and  lacquer,  with  interior  walls  and  ceiling 
entirely  covered  with  gold  leaf.  The  office  building  joined  to  the 
temple  was  suggested  by  the  shrine  of  the  ancient  castle  of  Fu- 
shimi.  The  exhibit  building  north  of  this  temple  houses  a  com- 
plete and  remarkably  beautiful  fac-simile  of  the  famous  temple 
at  Nikko,  one  of  the  finest  in  Japan.  The  Mikado's  private  col- 
lection of  Japanese  art,  never  before  opened  to  the  public,  even 
in  Japan,  is  placed  in  the  Japanese  section  of  the  Fine  Arts 
Palace.  The  paintings,  scrolls,  porcelain,  satsuma  ware,  sculp- 
tures and  metal  work  shown  in  this  very  noteworthy  exhibit 
were  collected  by  the  late  Emperor  Mutsuhito. 

One  of  the  tea  houses  is  an  exhibit  of  the  Central  Tea  Traders' 
Association,  the  other  one  by  the  Formosan  Government.  The 
striking  features  of  the  gardens,  beside  the  stream  and  the  lakelet, 
are  the  dwarfed  conifers,  priceless  trees.  Two  of  them  are  the 
products  of  ten  centuries  of  systematic  pinching  back.  With  them 
are  three  sago  palms,  five  hundred  years  old.  Scattered  throughout 
the  gardens  are  stone  lanterns.  Every  plant,  every  bit  of  turf, 
every  stone  in  the  bed  of  the  stream  even,  came  from  Nippon. 

Japan  is  one  of  the  largest  exhibitors  in  the  Exposition.  Her 
displays,  shown  in  every  palace  except  Machinery,  are  an  amaz- 
ing demonstration  of  the  degree  to  which  she  has  entered  the 
trade  of  the  world. 

THE  NETHERLANDS.— In  its  domed  pavilion,  gay  with  many 
bannered  staffs,  the  Netherlands  has  achieved  one  of  the  most 
striking  buildings  in  the  foreign  section.  (P.  157.)  Its  architecture 
is  not  representative  of  the  traditional  Dutch  style  but  fulfills  the 
modern  ideas  of  the  present-day  school  of  builders  in  Holland. 
Most  prominent  is  the  clock  tower,  where  a  bell  rings  the  hours. 

Within,  the  pavilion  presents  Holland  as  one  of  the  great  colo- 
nial nations.  Roughly,  it  has  three  divisions,  devoted  to  the  mother 
country,  the  Dutch  East  Indies,  and  the  Dutch  West  Indies,  in  each 
of  which  industry  and  commerce  is  pictured  in  dioramas  and 
exemplified  by  displays  of  products.  Dutch  girls  in  national  cos- 
tume serve  visitors  in  the  refreshment  room. 

Holland's  most  noteworthy  exhibits  are  those  made  by  the 
Board  of  Horticulture  of  the  Netherlands  in  the  gardens  of  the  Pal- 
ace of  Horticulture,  and  her  pictures  in  the  Palace  of  Fine  Arts. 
Holland  sent  to  San  Francisco  ten  carloads  of  rhododendrons,  con- 
ifers, and  bulbs.  To  install  them  she  sent  Mynheer  Arie  Van  Vliet, 
the  landscape  engineer  of  the  Peace  Palace  at  The  Hague.  Her 
industrial  exhibits  are  in  the  Exposition  palaces. 


NOTABLE  SCANDINAVIAN  STRUCTURES  167 

NEW  ZEALAND. — The  New  Zealand  Pavilion  is  of  mixed 
French  and  Italian  styles.  It  was  designed  by  Lewis  P.  Hobart 
of  San  Francisco,  in  collaboration  with  Commissioner  Edmund 
Clifton.  While  it  contains  a  representative  display  of  the  chief 
products  of  the  youngest  of  the  Dominions,  the  main  exhibits  are 
in  the  Palaces  of  Mines,  Agriculture,  and  Food  Products. 

NORWAY. — Norway,  like  Sweden  and  Denmark,  has  succeeded 
admirably  in  reproducing  its  national  spirit  in  its  pavilion.  The 
building  is  a  long  story-and-a-half  structure,  in  the  ancient  Norse 
style,  dominated  by  a  beautiful  tower  on  which  is  emblazoned  the 
Norwegian  coat-of-arms.  The  lower  floor  contains  three  large  dio- 
ramas of  characteristic  Norwegian  scenery,  and  an  exhibit  hall 
wherein  are  shown  products  of  the  industries  of  Norway,  espe- 
cially her  great  maritime  activities.  As  in  the  case  of  the  other  two 
Scandinavian  countries,  the  sons  of  Norway  in  California  built  the 
pavilion,  while  the  Norse  Government  provided  the  exhibits. 

PORTUGAL.— A  sign  of  the  glorious  past,  when  Henry  the  Navi- 
gator made  his  country  a  great  sea  power  with  colonies  around 
the  globe,  appears  in  the  knotted  cable  that  binds  Portugal's  Pavil- 
ion. The  fantastic  architecture  of  this  little  palace  is  also  historic- 
ally significant,  for  it  was  adapted  from  that  of  the  Cathedral  of 
Jeronymos,  the  Convents  of  Thomar  and  Batalha,  and  the  Tower 
of  Belem,  built  in  celebration  of  Portugal's  golden  age  of  discovery. 
The  style  is  known  as  the  Manuelino.  Antonio  do  Couto  of  Lisbon 
was  the  architect,  assisted  by  the  sculptor,  Mota  Sobrinho.  The 
building  has  a  local  significance  in  California,  where  thousands  of 
Portuguese  have  settled.  In  the  pavilion  is  a  display  of  laces, 
inlaid  articles  and  wickerwork,  exhibits  which  are  repeated  in 
greater  variety  and  with  other  products  in  the  Exposition  palaces. 
The  walls  are  beautified  with  a  series  of  very  remarkable  photo- 
graphs of  famous  Portuguese  cathedrals. 

SIAM. — The  Siamese  Pavilion  is  a  perfect  example  of  the  archi- 
tecture of  the  Far  East.  It  reproduces  a  pavilion  on  the  palace 
grounds  at  Bangkok.  It  was  first  built  there  by  native  workmen, 
taken  apart  in  sections  and  shipped  to  San  Francisco  to  be  set  up 
on  the  Exposition  grounds.  Teak,  sandal-wood  and  other  rare 
Asiatic  timbers  are  used  in  its  construction.  Hammered  metal 
work,  carved  ivory,  and  tapestries  form  its  interior  decorations; 
but,  in  striking  contrast  to  its  ancient  art  and  spirit,  the  building  is 
a  moving-picture  palace  where  Siam's  life  and  industry  is  shown. 

SWEDEN. — Sweden  has  delighted  everybody  with  her  pavilion, 
a  building  finely  representative  of  the  people  who  built  it,  and 
with  her  industrial  exhibit  as  well.  (P.  160.)  The  pavilion  com- 
bines the  best  in  Swedish  ecclesiastical  and  domestic  architecture, 


168  THE  JEWEL  CITY 

the  church  tower  and  the  gabled  hall  near  the  center,  dwelling- 
house  types  at  the  ends.  It  was  designed  by  Ferdinand  Boberg,  a 
noted  leader  in  Swedish  art. 

The  building  is  almost  entirely  filled  with  exhibits  of  Swedish 
industry,  a  presentation  as  good  in  its  way  as  Canada's  splendid 
picture  of  her  great,  hardly  touched  resources.  The  Swedish  steel 
works  have  sent  numerous  models  of  locomotives,  steamships,  and 
machinery,  and  full-sized  samples  of  smaller  products.  The  gov- 
ernment has  furnished  models  of  docks  and  bridges,  of  buildings 
and  other  engineering  works.  The  familiar  Swedish  matches  are 
here  in  pyramids.  There  are  rooms  furnished  by  Swedish  arti- 
sans in  birch  and  oak,  with  chandeliers  of  hammered  iron,  carpets 
from  Swedish  looms,  and  fine  ceramics  from  the  Swedish  potteries. 
Other  exhibits  are  in  the  Exposition  palaces.  In  art,  the  Swedish 
collection  in  the  Palace  of  Fine  Arts  is  perhaps  the  most  distinc- 
tive display  made  by  a  foreign  nation. 

Sweden's  part  in  the  Exposition  was  made  possible  by  the 
Swedish  citizens  of  California,  who  gave  the  funds  for  the  pavil- 
ion, while  the  home  government  provided  for  the  installation  of 
the  exhibits. 

TURKEY.— The  Turkish  Pavilion  supplies  the  one  touch  of 
Islam  in  the  foreign  section.  The  Ottoman  building  is  a  copy  of 
the  palace  of  Sultan  Ahmed  I  at  Stamboul,  the  summer  home  of 
the  present  Sultan.  Within  the  pavilion  is  a  ballroom,  cafe,  and 
lounging  rooms.  But  the  interest  of  the  building,  and  of  the 
little  mosque  behind  it,  as  examples  of  Turkish  architecture,  is 
entirely  overshadowed  by  the  wonderful  collection  of  rare  rugs, 
beautiful  brasses  and  carvings,  and  rich  inlaid  and  jeweled  orna- 
ments, all  part  of  the  Sultan's  treasures,  and  valued  at  $1,500,000. 


THE  ARGENTINE  PAVILION,  by  Sauze,  of  Buenos  Aires,  is  a  notable  example  of 
festival  architecture,  as  attractive   within  as  without. 


THE  JAPANESE  PAVILION  AND  GARDENS.     These  are  noteworthy  reproduc- 
tions of  famous  temples,  and  of  the  Mikado's  private  garden  in  Nikko. 


(  P.  169  ) 


5  I 


XVII. 
THE  STATE  BUILDINGS 

A  section  full  of  historical  and  architectural  interest — Many  not- 
able buildings  simply  furnish  State  headquarters,  others  con- 
tain important  exhibits — California's  great  Mission  structure — 
The  remarkable  display  of  her  counties — New  York's  stately 
palace — Oregon's  timbered  Parthenon — Interesting  chapters 
in  American  history  told  by  the  houses  of  Massachusetts,  Vir- 
ginia, Pennsylvania,  Maryland  and  New  Jersey — Fine  build- 
ings of  the  Western  States — Attractive  pavilions  of  the  Phil- 
ippines and  Hawaii. 

JHE  state  buildings  at  the  Exposition  fall  naturally  into 
three  groups:  those  that  reproduce  or  suggest  histor- 
ical structures,  those  characteristic  in  some  way  of 
their  builders,  and  those  that  express  the  importance 
of  their  states  by  dignified  architecture  and  significant 
exhibits.  The  richer  the  history  of  the  state,  the  more  likely  its 
building  is  to  reflect  its  past.  Several  states  which  possess  famous 
historical  buildings,  such  as  Mount  Vernon  or  Independence  Hall, 
have  either  copied  them  or  used  their  motives  in  the  Exposition 
structures.  Twenty-seven  states,  the  Territory  of  Hawaii,  and  the 
Philippine  Islands,  are  represented  by  twenty-eight  buildings. 

THE  CALIFORNIA  BUILDING,  Thomas  H.  Burditt  of  San  Fran- 
cisco, architect,  by  far  the  largest  state  building  ever  erected  at 
any  exposition,  is  an  exceedingly  happy  treatment  of  the  Mission 
style.  (See  p.  179.)  Its  commanding  tower  is  better  than  any- 
thing ever  done  by  the  padres  in  California.  From  its  facade,  Fray 
Junipero  Serra  looks  out  over  a  charming  garden,  which,  more 
than  anything  else,  invests  this  building  with  the  real  spirit  of  Cal- 
ifornia. It  is  a  reproduction,  even  to  the  fountain,  the  pepper  trees, 
and  the  old  fashioned  flowers,  of  the  private  garden  of  the  Santa 
Barbara  Mission,  a  spot  where  no  woman  treads.  From  this  gar- 
den, enclosed  by  walls  of  clipped  Monterey  cypress,  one  looks  at 
the  tower  and  is  at  once  translated  to  Southern  California. 

This  building  covers  five  acres,  and  is  worthy  to  be  ranked  with 
the  Exposition  palaces.  Under  the  tower  is  a  fine  vaulted  loge  and 
a  reception  room,  both  opening  into  a  splendid  balconied  ball- 
room behind,  all  finished  in  the  Exposition  travertine.  The  walls 
of  the  reception  room  are  hung  with  magnificent  tapestries,  loaned 
by  Mrs.  Phoebe  A.  Hearst.  The  west  wing  contains  the  adminis- 
trative offices  of  the  Exposition  and  the  Woman's  Board,  and  the 
directors'  club  rooms.  The  large  eastern  wing  is  entirely  filled 


172  THE  JEWEL  CITY 

with  the  displays  of  the  fifty-eight  California  counties.  (P.  182.) 
These  together  form  one  of  the  most  noteworthy  exhibits  in  the 
entire  Exposition.  They  demonstrate  the  fact  that  a  multitude  of 
other  resources  besides  her  gold  entitle  California  to  be  called  "the 
Golden  State." 

THE  OREGON  BUILDING,  Foulkes  and  Hogue  of  Portland, 
architects,  imitates,  though  it  does  not  reproduce,  the  Parthenon  of 
the  Athenian  Acropolis.  (P.  191.)  Doric  marble  is  replaced  by 
the  natural  columns  of  the  great  trees  of  Oregon,  and  the  frieze  of 
Phidias,  by  the  fretwork  of  the  bark  of  pine  and  fir.  There  are 
forty-eight  of  the  great  columns,  the  same  number  as  in  the  outer 
colonnade  of  the  Parthenon,  and,  coincidentally,  one  for  each 
State  of  the  Union.  They  were  cut  from  among  the  largest  of  trees. 
The  Douglas  fir,  next  to  the  redwood  and  the  sequoia  the  most  mas- 
sive of  living  things,  furnished  most  of  them.  But  the  largest  hap- 
pen to  be  the  two  giant  incense  cedars,  which  stand  on  either  side 
of  the  main  entrance.  These  are  eight  feet  and  ten  inches  in  dia- 
meter. Then  there  are  two  columns  on  the  south  side,  both  cut 
from  a  spruce  that  was  four  feet  seven  inches  through  at  101  feet 
above  the  ground. 

In  exterior  proportions  the  building  reproduces  the  Parthenon, 
but  the  Parthenon  had  a  double  row  of  columns  around  its  porch, 
the  Oregon  temple  has  but  a  single  row.  In  size  it  is  considerably 
larger  than  the  Partheon.  The  great  flagpole  is  a  single  stick  of 
Douglas  fir,  251  feet  long,  set  in  a  200-ton  block  of  concrete.  The 
building  contains  an  excellent  exhibit  of  Oregon's  resources. 

THE  WASHINGTON  BUILDING,  A.  F.  Heide  of  San  Francisco, 
architect,  is  a  striking  example  of  the  French  Renaissance.  (P.  191.) 
Unlike  most  of  the  state  buildings,  it  is  used  largely  for  the  exhibi- 
tion of  home  products.  Its  motion  pictures,  its  group  of  wild  life, 
and  its  displays  of  agriculture,  mining,  forestry  and  fisheries,  are 
all  designed  to  advertise  the  remarkable  scenery  and  resources  of 
the  Evergreen  State.  Washington  is  an  important  exhibitor  in  the 
Palaces  of  Horticulture,  Agriculture,  Food  Products,  Mines  and 
Education. 

THE  NEW  YORK  STATE  BUILDING  is,  next  to  that  of  Cali- 
fornia, the  largest  structure  erected  by  any  state.  (P.  170.)  It  is 
in  every  way  a  dignified  and  noteworthy  example  of  the  best  mod- 
ern civic  architecture.  Charles  B.  Meyers,  of  New  York  City,  was 
the  architect.  The  building  is  finished  in  plastic  travertine.  A 
magnificent  entrance  opens  upon  a  wide  central  corridor.  An 
assembly  room,  intended  for  the  use  of  New  York  organizations, 
and  a  restaurant,  pierce  the  second  story.  The  other  rooms  on  the 
first  floor  are  devoted  to  the  reception  and  convenience  of  New 


COLONIAL  TYPES  IN  STATE  BUILDINGS  173 

York  visitors.  On  the  other  floors  are  the  offices  and  apartments 
of  the  Commission,  with  a  special  suite  for  the  Governor  of 
the  State.  New  York's  official  exhibits  are  in  the  several  exhibit 
palaces. 

THE  NEW  YORK  CITY  BUILDING,  Bertram  G.  Goodhue,  of 
New  York,  architect,  is  the  only  municipal  building  at  the  Expo- 
sition. It  is  a  simple  classic  structure,  housing  an  extensive  dis- 
play intended  to  demonstrate  and  promote  municipal  efficiency. 
Its  exhibits, — maps,  models,  photographs  and  charts, — admirably 
illustrate  all  sides  of  city  government. 

THE  MASSACHUSETTS  BUILDING,  planned  by  Wells  and 
Dana,  of  Boston,  is  a  fac-simile  reproduction  of  the  Bulfinch  front 
of  the  Massachusetts  State  House  on  a  scale  of  two-thirds.  (P.  181.) 
Within,  as  well  as  without,  it  is  of  commanding  interest  to  every 
American.  Its  rooms  are  furnished  with  veritable  colonial  furni- 
ture. The  club  room  to  the  right  of  the  entrance  hall  is  done  in 
Jacobean  style,  the  reception  room  opposite  shows  fine  copies  of 
Chippendale,  Sheraton,  Hepplewhite  and  Adams  originals,  and  is 
hung  with  a  long  series  of  historic  portraits,  lent  by  Massachusetts 
families  and  the  State  Historical  Society.  On  the  second  floor  is  a 
room  filled  with  genuine  old  furniture  by  the  most  famous  makers, 
fine  colonial  mirrors,  and  a  Willard  clock.  The  Governor's  suite 
and  the  Commissioners'  rooms  are  furnished  with  exquisite  copies 
of  colonial  models. 

THE  PENNSYLVANIA  BUILDING,  Henry  Hornbostel,  of  Pitts- 
burgh, architect.  This  interesting  structure  is  reminiscent  of  Inde- 
pendence Hall,  Philadelphia,  though  it  is  not  a  reproduction  of  the 
Cradle  of  Liberty.  (P.  181.)  Its  plan  was  dictated  by  the  neces- 
sity of  a  fireproof  structure  in  which  to  house  the  Liberty  Bell  at 
the  Exposition.  Consequently,  it  is  the  solidest  and  most  enduring 
of  the  state  buildings.  Besides  the  Bell,  which  is  placed  in  the 
loggia,  its  most  striking  feature  is  the  two  fine  mural  paintings 
under  the  attic,  from  the  brush  of  Edward  Trumbull,  of  Pittsburgh, 
one  representing  Penn's  Treaty  with  the  Indians,  and  the  other 
Pittsburgh  Industries. 

THE  NEW  JERSEY  BUILDING,  Hugh  Roberts,  of  Jersey  City, 
architect,  like  those  of  Pennsylvania  and  Virginia,  tells  of  the  days 
of  the  Revolution.  It  is  a  copy  of  the  old  Trenton  barracks,  erected 
in  1758,  and  used  alternately  by  British  and  Colonial  troops  during 
the  Revolution.  Within,  its  simple  and  comfortable  appointments 
make  it  one  of  the  most  popular  of  the  state  buildings.  A  large 
lounge  with  blazing  fireplaces,  and  furnished  in  white  reed,  occu- 
pies the  entire  central  section.  In  the  east  wing  are  the  offices 
and  rooms  of  the  Commission.  The  west  wing  contains  the  lobby 


174  THE  JEWEL  CITY 

and  a  reception  room  in  which  hang  two  large  marines  painted  by 
N.  Hagerup,  of  San  Francisco.  As  the  building  is  to  be  President 
Wilson's  headquarters  if  he  comes  to  the  Exposition,  a  splendid 
suite,  corresponding  with  the  rooms  occupied  by  General  Wash- 
ington, has  been  furnished  and  reserved  for  him. 

THE  MARYLAND  BUILDING,  designed  by  Thomas,  Parker  and 
Rice,  of  Baltimore,  presents  a  fascinating  study  of  colonial  archi- 
tecture in  its  reproduction  of  "Homewood,"  built  by  Charles  Car- 
roll of  Carrollton  in  1802.  The  present  aspect  of  "Homewood"  has 
been  imitated  in  appearance  of  age  given  to  the  brickwork  and  the 
timbering.  The  contents  of  the  building  are  no  less  delightful, 
historically,  than  the  structure  itself.  The  Colonial  Dames  of 
America  have  enriched  the  walls  with  original  portraits  of  colo- 
nial celebrities,  old  prints,  original  grants  by  the  Baltimores,  and 
many  historical  documents  and  relics.  Colonial  furniture  adorns 
the  rooms.  Few  of  the  state  buildings  will  so  well  repay  a  visit. 

THE  VIRGINIA  BUILDING,  Charles  K.  Bryant,  of  Richmond, 
architect,  is  as  significant  historically  as  any  on  the  grounds. 
It  is  a  complete  reproduction  of  George  Washington's  home  at 
Mount  Vernon,  down  to  the  spinning  room,  the  detached  kitchen 
and  the  servants'  quarters,  and  furnished  in  part  with  Washing- 
ton's own  furniture  loaned  by  Miss  Nannie  Randolph  Heth,  of 
Virginia,  the  official  hostess  of  the  building.  There  is  Washing- 
ton's chair,  Mrs.  Washington's  work  box,  Nellie  Custis'  music 
stand,  and  many  other  relics  of  the  Father  of  his  Country.  The 
remaining  furniture,  also  loaned  by  Miss  Heth,  consists  of  antique 
specimens  brought  over  from  England  in  colonial  days. 

THE  WEST  VIRGINIA  BUILDING,  designed  by  H.  Rus  Warne, 
of  Charleston,  W.  Va.,  while  not  copying  any  individual  structure, 
suggests  well-known  colonial  types.  Its  veranda,  in  particular, 
is  like  that  of  the  home  of  the  Lees  at  Arlington.  The  chief  room 
is  the  long  reception  hall,  where  logs  always  burn  in  a  huge  fire- 
place, typifying  the  warmth  of  West  Virginian  hospitality. 

THE  MISSISSIPPI  BUILDING,  Overstreet  and  Spencer,  of 
Jackson,  architects,  was  designed  to  suggest  the  old-style  South- 
ern mansions.  Some  of  its  motives,  especially  the  pillared 
portico,  were  taken  from  the  old  capitol  building  at  Jackson. 
The  displays  contained  in  it  are  chiefly  agricultural.  Mississippi 
is  also  represented  in  the  Exposition  palaces. 

THE  OHIO  BUILDING,  designed  by  Albert  Pretzinger,  of 
Dayton,  is  a  copy,  on  a  smaller  scale,  of  the  classic  State  House  at 
Columbus.  Containing  no  exhibits  except  the  relics  shown  by  the 
State  Historical  Society,  the  building  serves  the  social  side  of 
Ohio's  participation  in  the  Exposition.  Its  upper  floor  is  en- 


STATES  OF  THE  MIDDLE  WEST  175 

tirely  occupied  by  suites  for  the  Governor  and  the  Commissioners. 

THE  INDIANA  BUILDING,  designed  by  J.  F.  Johnson,  of 
Indianapolis,  represents  a  type  of  modern  Hoosier  dwellings. 
It  is  of  permanent  construction,  of  sandstone  and  brick  with  a 
tiled  roof,  and  unique  in  the  fact  that  all  of  the  materials  used 
and  all  the  furnishings  are  Indiana  products.  State  pride  appears 
again  in  the  library  of  15,000  volumes,  confined  entirely  to  the 
works  of  Indiana  authors  and  books  about  Indiana.  In  addition 
to  the  building,  which  is  wholly  an  exhibit,  Indiana  is  well  repre- 
sented in  the  Exposition  palaces. 

THE  ILLINOIS  BUILDING,  designed  by  State  Architect  James 
Di  Belka,  of  Chicago,  is  perhaps  the  best  exhibit  of  the  State  at 
the  Exposition.  (P.  180.)  It  is  a  dignified  three-story  structure 
of  the  Italian  Renaissance.  The  sculptured  tablets  of  the  facades 
represent  the  history  and  progress  of  Illinois.  The  exhibits  within 
are  of  unusual  interest.  The  Lincoln  Memorial  Room,  made  pos- 
sible by  Mrs.  Jessie  Palmer  Weber,  contains  a  great  collection  of 
photographs,  letters  and  relics  of  Lincoln,  and  many  articles  con- 
nected with  his  life.  The  valuable  series  of  films  prepared  by 
the  Chicago  City  Planning  Commission  is  shown  in  the  moving- 
picture  hall.  This  building  contains  a  fine  pipe  organ  on  which 
frequent  recitals  are  given. 

THE  WISCONSIN  BUILDING,  designed  by  R.  A.  Messmer  & 
Co.,  Milwaukee,  in  the  colonial  style  with  wide  porticoes,  con- 
tains one  of  the  State's  best  exhibits  in  its  interior  finish  of  fine 
Wisconsin  hardwoods.  The  floors  are  all  of  maple  and  the 
paneled  wall  of  birch.  "Old  Abe,"  the  famous  Wisconsin  war 
eagle,  stands  above  the  main  entrance.  Over  the  fireplace  in  the 
reception  room  is  a  panel  in  relief,  "The  Progress  of  Wisconsin." 
The  building  is  used  a  headquarters  for  Wisconsin  visitors. 

THE  IOWA  BUILDING,  Clinton  P.  Shockley,  of  Waterloo,  la., 
architect,  is  a  classic  structure,  finished,  like  most  of  the  state 
buildings,  in  the  Exposition  travertine.  It  does  credit  to  the 
public  spirit  of  Iowa  business  men,  who,  in  default  of  a  legisla- 
tive appropriation,  supplied  the  funds. 

THE  MISSOURI  BUILDING,  designed  by  H.  H.  Hohenchild,  of 
St.  Louis,  is  a  structure  of  real  distinction  in  the  Georgian  style. 
(P.  180.)  It  copies  no  Missouri  building,  and  is  historical  only 
in  its  pleasant  combination  of  architectural  features  much  used 
in  early  days.  The  building  is  of  permanent  construction  and 
after  the  Exposition  closes  is  to  be  turned  over  to  the  Government 
as  a  club  house  for  the  army, — this  as  a  compliment  to  Major- 
General  Arthur  Murray,  who,  like  so  many  other  eminent  Ameri- 
cans, hails  from  Pike  County.  The  Missouri  Home,  as  it  is  called, 


176  THE  JEWEL  CITY 

is  used  as  a  gathering  place  for  visiting  Missourians,  and  for  the 
strong  Missouri  Society  of  California. 

THE  KANSAS  BUILDING,  Charles  Chandler,  of  Topeka,  archi- 
tect, is  a  pavilion  in  the  style  of  the  Italian  Renaissance.  It  is  a 
club  house,  devoted  solely  to  the  comfort  and  entertainment  of 
visitors.  Strong  exhibits  are  made  by  the  state  in  the  palaces  of 
Agriculture,  Horticulture,  Food  Products,  Education,  and  in  the 
Live-Stock  Section. 

THE  ARKANSAS-OKLAHOMA  BUILDING,  designed  by  George 
R.  Mann,  of  Little  Rock,  was  built  and  furnished  by  private  sub- 
scriptions by  citizens  of  the  two  states.  It  is  a  roomy  bungalow 
designed  for  the  convenience  of  visitors  from  Arkansas  and 
Oklahoma,  and  exhibits  some  of  their  products. 

THE  TEXAS  BUILDING,  Page  and  Brothers,  Austin,  archi- 
tects, is  a  pleasing  example  of  Mexican  architecture  as  dis- 
tinguished from  the  California  Mission  style.  It  suggests  the 
Alamo,  and  bears  the  Lone  Star  pierced  through  its  raised  cornice. 
Within  is  a  patio,  reached  by  broad  entrances  from  the  verandas 
at  front  and  rear.  A  motion-picture  hall,  a  ballroom,  offices  and 
rest  rooms  occupy  the  greater  part  of  the  building.  The  state 
exhibits  are  in  the  Exposition  palaces. 

THE  NORTH  DAKOTA  BUILDING,  Joseph  B.  De  Remer,  for- 
merly of  Grand  Forks,  now  of  Los  Angeles,  architect,  owes  its 
unique  ground-plan  to  a  three-cornered  lot.  That  it  is  a  pleasing 
structure  is  witnessed  by  several  dwelling  houses  now  being 
built  in  California  after  its  plans.  The  building  is  French  in  style, 
treated  in  a  simple  manner.  It  contains  interesting  exhibits  of 
the  products  of  the  Northern  State,  including  a  noteworthy  display 
of  pottery  made  at  the  University  of  North  Dakota,  an  institution 
which  devotes  much  of  its  effort  to  promoting  state  industries. 

THE  MONTANA  BUILDING,  Carl  Nuese,  San  Francisco,  archi- 
tect, is  one  of  the  group  of  classic  structures  finished  in  plastic 
travertine.  The  only  display  made  in  the  building,  which  serves 
as  a  social  center  for  visitors  from  Montana,  is  a  school  exhibit. 
The  State  is,  however,  largely  represented  in  the  Palaces  of  Mines, 
Agriculture  and  Horticulture. 

THE  IDAHO  BUILDING,  Wayland  and  Fennell,  of  Boise,  archi- 
tects, was  the  first  state  structure  completed  at  the  Exposition. 
It  is  built  in  the  manner  of  the  Italian  Renaissance  and  looks  out 
over  the  bay.  Like  most  buildings  of  the  Western  states,  it  is 
equipped  with  a  moving-picture  theatre,  as  well  as  rooms  for 
visitors.  Idaho's  exhibits  are  chiefly  in  the  Exposition  palaces. 

THE  NEVADA  BUILDING,  designed  by  F.  J.  De  Longchamps, 
of  Carson,  is  another  structure  in  the  style  of  the  French  Renais- 


THE  PACIFIC  ISLES  REPRESENTED  177 

sance.  It  is  the  headquarters  of  the  Nevada  Society  of  California 
and  of  visitors  from  the  Sagebrush  State.  Nevada  has  important 
exhibits  in  several  palaces. 

THE  UTAH  BUILDING,  Cannon  and  Fetzer,  of  Salt  Lake,  archi- 
tects, is  a  classic  structure  with  deep  porticoed  front.  All  its  fur- 
niture is  an  exhibit,  made  by  the  pupils  of  the  manual  training 
department  of  the  Utah  schools.  The  building  contains  interesting 
models  of  copper  and  gold  mines,  and  an  exhibit  of  the  processes 
of  salt-making,  displays  of  building-stone,  grains  and  grasses,  and 
collections  from  the  cliff  dwellings.  Other  exhibits  are  in  the 
Palaces  of  Mines,  Education  and  Horticulture. 

THE  HAWAIIAN  BUILDING,  C.  W.  Dickey,  of  Oakland,  archi- 
tect, excellently  represents  the  Pacific  isles.  In  style  it  is  French 
Renaissance,  built  with  a  half  rotunda  at  the  rear  to  accommodate 
a  semi-circular  aquarium.  In  the  center  of  the  main  hall  is  a 
clump  of  palms  and  tree  ferns,  and  native  singers  give  the  island 
touch.  The  aquarium  contains  a  wonderful  collection  of  the  many- 
hued  fish  of  the  South  Seas.  Interesting  displays  of  native  cabinet 
woods  are  made  in  the  finish  of  the  offices.  Though  small,  the 
Hawaiian  building  has  proved  one  of  the  most  popular. 

THE  PHILIPPINES  PAVILION,  designed  by  the  Bureau  of 
Architecture,  is  one  of  the  Exposition  places  which  no  one  should 
miss.  It  marks  the  creation  of  an  original  style  of  exposition 
building.  It  is  Filipino  in  all  its  motives.  Its  groups  of  four 
columns  suggest  the  four  essential  posts  of  native  hut  construc- 
tion; the  broad  roofs  are  tiled;  the  windows  are  not  glass,  but  of 
thin  shell,  the  common  material  used  in  the  islands;  the  walls  are 
finished  in  split  bamboo  matting.  The  same  style  of  construction 
is  used  also  in  all  the  Philippine  booths  in  the  palaces.  The  ma- 
terials are  used  with  restrained  taste,  and  this,  with  the  mag- 
nificent cabinet  woods  employed  throughout  the  construction,  has 
resulted  in  a  beautiful  building.  It  is  a  little  hard  to  realize  the 
richness  of  the  woods  used  here.  The  very  floors  in  the  pavilion 
and  the  booths  are  good  enough  to  make  piano  cases  of.  The 
central  portion,  upstairs  and  down,  is  floored,  wainscoted  and 
ceiled  with  the  costliest  of  timber.  The  two  offices  to  right  and 
left  of  the  main  entrance  are  finished  in  a  beautiful,  hard,  heavy 
rosewood,  called  narra,  the  one  to  the  right  in  yellow  narra,  that 
on  the  left  in  red  narra.  The  stairway  is  of  a  magnificent,  richly 
figured,  claret-red  hardwood  called  tindalo,  the  favorite  material 
for  such  construction  in  the  islands.  The  panels  of  its  wains- 
coting and  the  balusters  are  of  a  dark  velvety  epil,  so  dark  and 
so  glossy  in  some  places  that  it  looks  almost  like  agate.  All  the 
columns  are  natural  trunks  of  the  palma  brava. 


XVIII. 
THE  LIVE-STOCK  EXHIBIT 

The  first  Exposition  to  offer  a  live-stock  exhibit  covering  its  entire 
period — Prizes  total  $440,000 — Classification  of  competitions — 
New  methods  of  displaying  herds  and  flocks — Contests  in 
dairy  and  beef  cattle — Other  exhibits  range  from  high-bred 
horses,  hens  and  she.ep  down  to  pet  rabbits,  rats  and  mice. 

OR  the  first  time  in  the  history  of  similar  celebrations, 
this  Exposition  offers  a  continuous  live-stock  show. 
Other  expositions  have  confined  their  live-stock  ex- 
hibit to  a  few  weeks  during  the  time  of  award-making. 
Here,  however,  the  show  extends  from  the  opening  of 
the  Exposition  until  its  closing.  The  competitive  period  extends 
from  September  23  to  December  3.  Naturally  this  will  mark  the 
high  tide  of  the  display.  During  this  time  the  International  Jury 
on  Awards  will  distribute  in  cash  prizes  a  total  of  $440,557.  Of 
this  amount,  $190,000  has  been  given  by  the  Exposition  manage- 
ment, $100,327  by  the  breed  record  associations  of  the  country, 
and  $150,230  by  various  states  to  be  used  in  prizes  and  the  trans- 
portation of  stock. 

These  attractive  prizes  will  be  distributed  among  the  well- 
established  and  well-known  breeds  of  draft  and  light  horses, 
ponies,  beef  and  dairy  cattle,  sheep,  swine,  poultry,  pigeons,  and 
pet  animals.  All  animals  will  be  judged  according  to  the  rules  of 
recognized  breed  associations.  Foreign  or  other  animals  not  re- 
corded in  the  books  of  the  associations  named  in  the  premium 
list  will  be  judged  by  the  standards  of  the  associations  to  which 
their  exhibitors  belong. 

The  educational  value  of  the  live-stock  show  for  the  general 
public,  as  well  as  the  stock  breeder,  has  been  emphasized  in  every 
department.  The  increased  cost  of  living  being  a  dominating  topic 
for  both  producer  and  consumer,  much  attention  has  been  cen- 
tered on  meat-producing  animals.  Liberal  provision  has  been 
made  in  the  prize  list  for  fat  classes  in  beef-cattle,  sheep  and  swine. 
When  the  Exposition  management  designed  the  live-stock  sec- 
tion and  planned  the  buildings  for  the  various  features  of  this 
department,  an  effort  was  made  to  create  a  model  arrangement  for 
exhibit  purposes.  So  successful  was  this  effort  that  a  number  of 
states  have  requested  the  plans  for  a  ground  layout.  This  portion 
of  the  Exposition  cost  the  management  approximately  $150,000, 
and  covers  sixty-five  acres.  The  buildings  represent,  in  their 
equipment,  the  very  latest  development  in  the  housing  and  caring 


THE  ILLINOIS  BUILDING,  planned  by  State  Architect  James  B.  Di  Belka,  of  Chi- 
cago, is  one  of  the  most  pleasing  of  the  State  buildings  done  in  classic  style. 
Its  great  collection  of  Lincoln  relics  attracts  thousands. 


THE  MISSOURI  BUILDING,  H.  H.  Hohenchild,  of  St.  Louis,  architect.  This  is 
an  effective  study  in  colonial  architecture.  Inside,  it  is  an  attractive  club- 
house for  Missourians,  past  and  present. 

(  P.  180  ) 


THE  MASSACHUSETTS  BUILDING,  Wells  and  Dana,  architects,  is  a  replica,  one- 
third  reduced,  of  the  famous  central  portion  of  the  Boston  State  House,  de- 
signed by  Uulfmch.  Its  interior  is  rich  in  colonial  furniture  and  portraits. 


THE  PENNSYLVANIA  BUILDING,  designed  by  Henry  Hornbostel,  of  Pittsburg. 
suggests,  though  it  does  not  attempt  to  reproduce,  Independence  Hall.  Us 
loggia  shelters  the  Liberty  Bell. 

(  P.  181  ) 


THE  VIEW  HERDS  183 

for  stock.  The  visitor  first  approaches  from  the  east  a  quadrangle 
of  eight  large  stables,  enclosing  the  forum  where  the  live-stock 
shows  are  held.  These  stables  have  a  total  accommodation  of 
1124  horses.  The  forum  has  a  seating  capacity  of  2680  persons. 

To  the  north  of  the  stable  quadrangle  is  Congress  Hall,  for  the 
accommodation  of  conventions  and  other  meetings,  and  containing 
also  the  administration  offices  of  the  chief  of  the  live-stock  depart- 
ment. On  this  side  also  are  the  corrals,  feed  storage  barns,  a 
service  yard,  and  an  area  for  open-air  exhibits.  To  the  south  is 
the  large  dairy  building,  a  dairy  manufactures  building,  and  the 
poultry  exhibit  building.  The  dairy  building  houses  more  than 
300  animals.  West  of  the  stable  group  is  the  mile  racecourse  with 
its  polo  and  athletic  field. 

One  of  the  novel  features  of  this  show  is  the  manner  in  which 
the  view  herds  and  flocks  are  displayed.  These  are  seen  in  stalls 
and  pens  built  at  an  angle  of  about  forty-five  degrees  to  permit  the 
visitor  to  get  a  side  view  of  the  stock.  The  view-herd  idea  in  itself 
is  something  new.  These  exhibits  are  purely  educational  in  pur- 
pose, and  non-competitive.  They  have  been  on  display  since  the 
opening,  and  will  continue  until  the  close  of  the  Exposition,  thus 
enabling  the  visitor  to  see  a  creditable  live-stock  show,  no  matter 
at  what  season  he  may  come.  The  view  herds  are  selected  by 
competent  authorities,  and  represent  the  best  of  their  respective 
breeds.  Among  such  herds  on  exhibit  are  Shorthorn  cattle,  Berk- 
shire swine  and  Percheron  horses.  These  exhibits  are  changed 
from  time  to  time. 

In  addition  to  these  general  features,  the  special  events  include 
the  milk  show,  harness  races,  universal  polo,  wool  grading,  sheep- 
dog trials,  poultry  show,  and  an  international  egg-laying  contest. 

For  eleven  classes  of  dairy  cattle  the  Exposition  offers  awards, 
as  follows :  Jersey,  Ayrshire,  Guernsey,  Holstein-Friesian,  Dutch- 
Belted,  Dairy  Shorthorn,  Brown  Swiss,  French-Canadian,  Sim- 
menthal,  Kerry  and  Dexter,  and  Grade-Dairy  Herd.  This  last  is  a 
recognition  on  the  part  of  the  Exposition  of  the  great  utility  value 
of  the  grade-dairy  cow,  which  forms  the  basis  of  the  dairy  indus- 
try, and  yet  could  not  exist  without  the  pure-bred  stock.  In  the 
beef-cattle  group,  the  Exposition  offers  awards  in  the  following 
classes :  Short-Horn,  Hereford,  Aberdeen-Angus,  Galloway,  Polled 
Durham,  Red  Polled,  Devon,  Fat  Cattle  (by  ages)  and  Car-lots. 

One  of  the  especially  attractive  features  pertaining  to  the  dairy 
section  is  the  exhibit  of  150  high-grade  Holsteins  for  utility  pur- 
poses. This  herd  is  in  full  flow  of  milk  and  is  maintained  by  a 
large  milk  condensing  plant.  This  exhibit,  in  the  daily  care  given 
these  perfect  specimens  of  dairy  cattle,  the  yield  of  milk,  the 


184  THE  JEWEL  CITY 

quality  of  feed  and  the  appliances  used,  forms  one  of  the  most 
attractive  units  in  the  department.  An  important  event  in  this 
section  was  the  pure  milk  and  cream  contest,  June  14  to  19,  in 
Congress  Hall.  City  and  state  boards  of  health  and  the  dairy  divi- 
sions of  agricultural  colleges  participated  in  the  contest.  The 
purpose  of  the  event  was  designed  to  create  a  greater  interest  in 
pure  milk  and  cream.  Four  samples  of  milk  and  cream  each  were 
submitted.  One  of  these  was  submitted  to  an  official  bacteriologist, 
a  second  given  to  the  official  chemist,  a  third  displayed  in  Congress 
Hall,  and  the  fourth  tested  for  its  butter-fat  content.  Awards  of 
gold  and  silver  medals  and  cash  prizes  were  made  in  the  following 
classes :  city  boards  of  health,  cream  dealers,  milk  dealers,  college 
experiment  stations,  pasteurized  milk,  pasteurized  cream,  market 
milk  producers,  certified  and  medical  milk  commissions. 

In  the  horse  exhibit  the  following  classes  are  provided :  Perch- 
eron,  Belgian,  Clydesdale,  Shire,  Suffolk-Punch,  Standard  Trotter, 
Thoroughbred,  Saddle  Horses,  Morgan,  Hackney,  Arabian,  Shet- 
land Pony,  Welch  Pony,  Roadsters,  Carriage  Horses,  Ponies  in 
Harness,  Draft  Horses,  Hunters,  Jumpers,  and  Gaited  Saddle 
Horses.  Among  special  events  in  this  section  are  the  follow- 
ing: trot  under  saddle,  one-mile  track,  one-mile  military  officer's 
race,  one-mile  mounted  police  race,  gaited  saddle  race  of  one  mile, 
steeple  chase,  hurdle  race,  polo  pony  dash,  relay  race  of  one  mile, 
cowboy's  relay  race  of  same  length,  cowgirl's  relay  race,  six  fur- 
longs, saddle  tandem.  Exposition  jumping  contest  and  five-mile 
Marathon  four-in-hand.  On  the  closing  day  of  the  Exposition 
there  will  be  a  grand  parade  of  all  first  and  second  winners, 
not  only  in  the  horse  display,  but  in  all  other  displays  in  this 
department. 

The  following  dates  have  been  set  for  the  exhibition  of  stal- 
lions and  mares  in  the  breeding  classes  in  the  Forum:  Thursday, 
September  30, — Percheron,  standard  trotter,  Welch  pony,  and 
Morgan;  Friday,  October  1, — Belgian,  Thoroughbred,  Hackney, 
and  Shetland  Pony;  Saturday,  October  2, — Clydesdale,  Saddler, 
Arabian,  and  Suffolk-Punch;  Monday,  October  4, — Shire,  Jacks  and 
Jennets,  and  Mules. 

The  exhibition  of  horses  for  awards  is  from  Thursday,  Sep- 
tember 30,  to  Wednesday,  October  13.  One  of  the  important  events 
of  this  period  is  the  special  horse  show.  Two  other  big  special 
events  are  the  races  and  international  polo  tournament.  The  polo 
tournament  from  March  7th  to  May  1st  enlisted  the  following 
teams:  Cooperstown,  N.  Y.;  Philadelphia  Country  Club;  Midwick 
Polo  Club;  Pasadena,  Burlingame  and  San  Mateo  Clubs;  Boise, 
Idaho,  team;  Portland,  Oregon,  team;  First  Cavalry,  Monterey; 


MANY  CLASSES  OF  LIVE  STOCK  185 

Second  Division  Army,  Texas  City,  Texas;  and  Southern  Depart- 
ment Army,  San  Antonio,  Texas. 

The  Exposition  harness  races  cover  two  periods,  one  from 
June  5  to  June  15,  and  the  other  from  October  30  to  November  13. 
In  addition  to  these  there  will  be  matinee  races  from  May  23  to 
September  30.  A  total  of  $227,000  has  been  set  aside  for  purses 
in  these  races. 

The  poultry  exhibit  for  award  is  scheduled  from  November 
18  to  28.  This  is  known  as  the  Universal  Poultry  Show,  and  is 
planned  to  be  one  of  the  largest  ever  held.  Between  10,000  and 
12,000  chickens,  entered  from  all  parts  of  the  Union,  will  be  in 
competition.  In  conjunction,  the  American  Poultry  Association 
meets  in  Congress  Hall  in  the  live-stock  section.  The  Interna- 
tional Egg-Laying  Contest,  extending  over  a  period  of  one  year 
from  November  15,  1914,  has  attracted  widespread  attention. 
Pens  of  fowls  have  been  entered  in  this  contest  from  the  United 
States  and  Canada,  and  even  distant  England.  Daily  records  are 
kept  of  the  production  of  each  hen,  and,  once  a  month,  the  score 
is  bulletined  by  the  live-stock  department  for  the  information  of 
owners. 

Sheep  and  goats  are  to  be  judged  for  awards  from  Wednesday, 
November  3,  to  Monday,  November  15.  The  breeds  classified  are: 
Shropshire,  Hampshire,  Cotswold,  Oxford,  Dorset,  Southdown, 
Lincoln,  Cheviot,  Leicester,  Romney,  Tunis,  Rambouillet,  Merino- 
Ameiran,  Merino-Delaine,  Corriedale,  Exmoor,  Persian  Fat-Tailed, 
Karakule,  and  car-lots;  goats,  Toggenburg,  Saanen,  Guggisberger, 
and  Anglo-Nubian  breeds,  with  the  grades  of  each  breed,  and 
native  goats. 

The  exhibit  of  swine  for  awards  runs  between  the  same  dates. 
The  eligible  breeds,  besides  swine  in  car-lots,  are  Poland-China, 
Berkshire,  Duroc-Jersey,  Chester  White,  Hampshire,  Tamworth, 
Mule  Foot,  Large  Yorkshire,  Large  English  Black,  Victoria,  Essex, 
and  Cheshire. 

The  scope  of  the  live-stock  department  is  not  limited  to  the 
material  things  of  rural  life.  A  Universal  Kennel  show  is  sched- 
uled from  November  29  to  December  1.  Two  classes  of  dogs  are 
provided  for  in  the  awards,  sporting  and  non-sporting.  A  cat 
show,  of  long-  and  short-haired  cats,  is  set  for  the  same  period 
as  the  kennel  show.  Other  groups  of  exhibits  in  this  line  are 
pet  stock,  rabbits,  hares,  rats  and  mice,  and  children's  pets. 


XIX. 
SPORTS  AND  GAMES;  AUTOMOBILE  RACES;  AVIATION 

Exposition  contests  include  nearly  every  branch  of  sport — 
National  Championships  of  the  A.  A.  U. — Two  great  automobile 
races,  the  International  Grand  Prix  and  the  Vanderbilt  Cup, 
already  run — Polo  and  Golf — Sensational  flights  of  the  avia- 
tors— The  International  Yachting  Regatta  and  other  aquatic 
events — All-star  baseball  expected  in  the  fall. 


N  ACCOUNT  of  the  Exposition,  and  indeed,  American 
athletic  history  for  the  year  1915,  would  be  incom- 
plete without  a  description  of  the  sports  programme. 
This  outline  of  games  and  exhibitions  includes  nearly 
every  branch  of  sport  familiar  to  the  American  pub- 
lic, and  its  wide  appeal  has  attracted  many  thousands  to  the  ath- 
letic fields  and  gymnasiums  of  the  Exposition.  Although  ten 
months  of  sport  was  originally  intended  by  the  atheletic  com- 
mittee, this  period  has  been  somewhat  abbreviated  by  circum- 
stances, though  a  practically  continuous  performance  has  held 
sway  since  February  22. 

International  competition,  at  first  intended  in  many  branches 
of  the  programme,  was  generally  abandoned  on  account  of  the 
European  conflict;  but  the  want  of  foreign  representation  has  in 
no  way  lessened  the  quality  of  competition,  or  dampened  the  at- 
tractiveness of  the  summer  contests.  Some  of  Europe's  star  track 
men  are  entered  here,  in  spite  of  conditions  on  the  continent. 

Perhaps  the  most  popular  attractions  of  the  programme  are 
the  national  championships,  held  every  year  under  the  auspices 
of  the  Amateur  Athletic  Union.  At  the  convention  of  that  body 
during  November,  1913,  prior  to  the  death  of  its  president,  James 
E.  Sullivan,  it  was  voted  unanimously  to  award  all  of  the  organi- 
zation's events,  with  the  exception  of  boxing,  to  the  Panama- 
Pacific  Exposition.  These  championships  are  the  blue-ribbon 
events  of  the  amateur  world.  They  include  track  and  field  games, 
swimming,  boxing,  wrestling  and  indoor  gymnastics.  Three  of 
these  championships  were  staged  in  San  Francisco  before  the 
opening  of  June. 

In  basket  ball,  the  first  of  the  national  competitions,  premier 
honors  went  to  a  California  organization,  the  San  Francisco 
Olympic  Club.  Next  in  line  came  gymnastics,  followed  by  wrest- 
ling. Although  these  sports  are  not  immensely  popular  with  the 
athletic  enthusiasts,  generous  galleries  turned  out  to  see  the  Ameri- 
can champions  in  action. 


TRACK  AND  FIELD  SPORTS  187 

The  more  important  part  of  the  Amateur  Athletic  Union  pro- 
gramme was  scheduled  for  the  summer  months,  when  the  track 
and  field  championships  are  held.  Facilities  for  staging  these 
games  are  ideal.  The  cinder  path,  situated  at  the  far  end  of  the 
Exposition  grounds,  with  unexcelled  scenic  advantages,  is  re- 
puted to  be  the  equal  of  any  athletic  stadium  in  the  country.  The 
oval  measures  one-third  of  a  mile  to  the  lap,  with  a  220-yard 
straightaway  flanking  the  grandstand.  The  earlier  games  con- 
vinced Eastern  athletes  that  there  could  be  no  complaint  against 
facilities. 

The  senior  and  junior  track  and  field  championships  of  the 
Amateur  Athletic  Union  loom  up  as  the  banner  track  events  of  the 
programme.  National  stars  have  signified  their  intention  of  par- 
ticipating in  these  games,  and  it  will  be  surprising  if  many 
national  records  are  not  broken.  In  addition  to  these  games,  the 
International  Olympic  Committee,  which  controls  all  the  modern 
Olympic  meets,  conferred  upon  the  Exposition  the  right  to  hold 
the  Modern  Pentathlon,  this  being  the  first  time  it  has  been  con- 
tested outside  of  the  Olympic  Games.  In  addition,  America  is  to 
have  for  the  first  time  the  Decathlon,  and  the  famous  Marathon 
race  originated  in  Greece  centuries  ago,  and  impressively  revived 
during  recent  years  by  the  more  important  athletic  bodies  of 
the  world. 

Besides  the  Amateur  Athletic  Union  track  and  field  games,  an 
abundance  of  competitions,  ranging  from  grammar  school  con- 
tests to  collegiate  struggles,  was  arranged.  Among  the  first  of 
these,  the  Pacific  Coast  Intercollegiate  Conference,  was  won  by 
the  University  of  California  from  a  field  of  collegiate  teams  rep- 
resenting the  entire  Pacific  Coast.  Several  high  and  grammar 
school  contests  have  attracted  spectators  to  the  stadium.  One 
thousand  grammar  school  athletes  entered  the  lists  upon  the  Ex- 
position cinder  path,  and  staged  a  carnival  that  stands  as  a  record 
in  California,  and  approaches  any  American  event  of  its  kind 
both  in  the  number  of  entrants  and  the  class  of  competition  offered. 

Automobile  racing,  of  the  kind  that  thrills,  was  furnished  by 
the  Exposition  during  its  early  weeks.  Two  events  of  inter- 
national importance  were  run  upon  the  Exposition  grounds,  and 
in  each  instance  attracted  one  hundred  thousand  spectators  to 
the  course.  The  first  of  these  was  the  International  Grand  Prix, 
run  in  the  rain  and  under  other  conditions  far  from  ideal,  over  a 
four-mile  course  for  the  distance  of  four  hundred  miles.  Sen- 
sation followed  sensation  in  this  feature,  a  final  winner  being 
supplied  in  the  swarthy  Darius  Resta,  who  drove  a  Peugeot  car 
for  an  average  speed  of  fifty-six  miles,  7:07:57  being  his  actual 


188  THE  JEWEL  CITY 

time.  Other  drivers  of  international  reputation  appeared  in  this 
struggle,  among  them  De  Palma,  Hughes  and  Wilcox.  Handsome 
prizes  were  distributed  to  the  winners  in  these  events. 

The  Vanderbilt  Cup  Race  was  staged  over  the  same  course  on 
March  7,  and  brought  out  an  equally  attractive  field.  Running 
with  the  precision  and  dexterity  that  brought  him  home  a  winner 
in  the  Grand  Prix,  Resta  repeated  his  victory  in  the  Vanderbilt 
Race,  coming  home  from  his  journey  of  three  hundred  miles 
ahead  of  such  stars  as  Burman,  Pullen,  Wilcox  and  De  Palma. 
Resta  earned  the  reputation  of  being  one  of  the  most  skilful  drivers 
holding  the  wheel  in  this  or  any  other  country. 

For  six  weeks,  from  March  to  May,  polo  held  popular  sway  at 
the  Exposition.  Ten  teams  competed  in  a  tournament  which 
offered  many  valuable  trophies.  The  contests  were  held  daily 
and  attracted  thousands  to  a  specially  prepared  turf  field  near 
the  athletic  stadium.  The  sport  furnished  thrilling  competition 
throughout  its  period. 

Perhaps  the  most  famous  team  seen  in  competition  was  the 
noted  four  from  Cooperstown,  New  York,  bearing  an  international 
reputation.  The  Easterners,  although  weakened  by  illness  in  the 
ranks  of  their  players,  proved  practically  invincible.  Another 
notable  organization  was  the  four  representing  the  Midwick  Club 
of  Pasadena,  California.  In  addition  to  the  civilian  teams,  the 
United  States  army  was  represented  by  some  fast  fours,  who 
provided  thrill  after  thrill  with  their  reckless  but  winning  form 
in  the  saddle.  Perhaps  the  most  notable  of  the  military  combi- 
nations was  the  Fort  Sam  Houston  four,  which  went  through  the 
tournament  with  practically  an  undefeated  record.  The  army 
teams  were  granted  certain  handicaps,  however,  which  gave  them 
a  slight  edge  in  some  of  the  contests. 

Aviation,  a  branch  of  sport  which  claims  a  large  place  in  the 
popular  fancy,  was  not  neglected  by  those  who  drew  up  the  pro- 
gramme. Two  world-famed  aviators  have  performed  before 
hundreds  of  thousands,  though  one  of  these,  Lincoln  Beachey, 
became  a  victim  to  the  elements  which  he  had  so  often  defied. 
While  giving  an  exhibition  flight  in  a  German  Taube,  Beachey  fell 
to  his  death  on  March  14  when  his  monoplane  crumpled  at  the 
start  of  a  daring  loop. 

Nothing  daunted  by  the  untimely  end  of  Beachey,  a  new 
luminary  appeared  in  Arthur  Smith,  whose  aerial  maneuvers  ex- 
ceed in  point  of  recklessness  anything  attempted  by  his  prede- 
cessor. Smith  thrills  thousands  in  daily  flights  and  skiey  acro- 
batics, including  crazy  dips  and  loops,  startling  dashes  to  the 
earth  and  illuminated  flights  through  the  night  air.  (See  p.  192.) 


RACES  AND  GOLF  189 

Smith  became  in  a  day  an  attraction  outshining,  perhaps,  any 
other  single  performer  upon  the  huge  Exposition  programme. 

Those  who  loved  horse  racing  and  grieved  at  the  decline  of 
the  sport  in  California,  were  rejoiced  at  the  announcement  of 
some  of  the  biggest  harness  and  running  events  yet  staged  in  this 
country.  Two  meetings  were  arranged  for  the  Exposition  sched- 
ule, a  summer  harness  event,  June  5th  to  19th,  and  a  fall  running 
meeting,  October  30th  to  November  13th.  The  Panama-Pacific  is 
the  first  Exposition  to  make  horse  racing  an  outstanding  feature 
of  its  activities.  About  $227,000  was  set  aside  to  be  distributed 
in  handsome  purses  and  stakes  for  the  events.  A  $20,000  trotting 
and  a  $20,000  pacing  stake  was  put  up  for  each  meeting,  with  other 
sums  ranging  from  $1,000  to  $5,000.  The  four  stakes  of  $20,000 
each  are  the  largest  ever  offered  in  any  light-harness  event,  and 
insured  entries  of  the  highest  class. 

The  race  track  is  situated  near  the  athletic  stadium,  and  com- 
mands an  unsurpassed  view  of  the  San  Francisco  Bay,  together 
with  the  Marin  County  heights  and  the  entrance  to  the  Golden 
Gate.  The  grandstand  seats  thirty-five  thousand  spectators.  The 
course,  under  scientific  preparation  for  several  months,  was  put 
in  fine  shape.  The  length  of  the  lap  is  one  mile. 

One  of  the  biggest  golf  events  ever  staged  in  this  country  was 
successfully  managed  by  the  Exposition.  Five  weeks  of  sport 
on  the  links  around  the  bay  counties,  including  high-class  exhi- 
bitions by  both  men  and  women,  were  in  the  plans  of  the  com- 
mittee. Events  included  both  professional  and  amateur  contests, 
and  seldom,  if  ever  before,  had  a  community  of  the  size  of  San 
Francisco  maintained  so  continuous  an  interest  in  the  sport. 
Valuable  prizes  and  trophies  were  offered  for  the  different  events 
of  the  programme.  Handsome  cups  and  medals  were  granted 
amateurs,  while  professionals  were  tendered  purses  of  generous 
proportions. 

Perhaps  the  banner  event  of  the  tournament  was  the  amateur 
championship  for  men  played  on  the  course  of  the  Ingleside  Golf 
and  Country  Club.  Players  of  international  reputation  were  en- 
tered in  this  event,  and  as  a  result,  the  play  offered  sensation 
after  sensation.  The  tournament  was  won  by  Harry  Davis,  of 
the  Presidio  Golf  Club,  after  a  struggle  in  which  he  eliminated 
such  stars  as  Chick  Evans,  H.  Chandler  Egan,  Heinrich  Schmidt, 
and  Jack  Neville.  Davis  met  Schmidt  in  the  finals  of  the  event 
and  won  only  after  a  dazzling  exhibition  of  driving  and  putting 
such  as  has  seldom  been  seen  on  a  California  course. 

In  addition  to  the  men's  championships,  the  women  were  in 
the  limelight  for  a  week.  Miss  Edith  Chesebrough  won  the  finals 


190  THE  JEWEL  CITY 

of  the  first  flight  play  over  Mrs.  H.  T.  Baker.  Mixed  foursomes, 
events  for  professionals,  driving,  putting,  and  approaching  con- 
tests were  all  included  upon  the  programme,  with  gratifying 
results. 

Yachting  was  granted  an  appropriate  position  upon  the  calen- 
dar, the  races  scheduled  including  yachts,  sloops  and  motor  boats 
upon  San  Francisco  Bay  and  the  ocean  waters  in  the  neighbor- 
hood of  the  Farallones.  Perhaps  the  biggest  event  upon  the  pro- 
gramme is  to  be  the  International  Regatta  scheduled  for  August 
1st  to  31st,  an  event  intended  to  bring  into  competition  practically 
every  type  of  racing  craft  afloat.  This  has  brought  attractive 
entries  from  both  Eastern  and  Pacific  clubs. 

Special  events  were  also  arranged.  A  schooner  race,  with  a 
course  starting  from  a  point  on  the  bay  off  the  Exposition  and 
extending  to  the  Farallone  Islands,  is  one  of  them.  Perhaps  the 
most  attractive  of  these  events,  however,  will  be  the  long-distance 
race  for  yachts  from  New  York  to  San  Francisco.  The  boats  are 
to  sail  along  the  Atlantic  seaboard,  reaching  San  Francisco  via  the 
Panama  Canal.  Several  entries  for  this  contest  have  already  been 
filed,  and  it  is  expected  that  by  the  time  set  for  the  start,  a  first- 
class  field  will  be  ready  to  weigh  anchor.  Handsome  cups,  fur- 
nished by  the  Exposition  for  winners  in  the  different  nautical 
events,  include  many  valuable  trophies. 

Boxing,  the  professional  phase  of  which  was  recently  abolished 
by  an  act  of  the  California  legislature,  found  an  important  place 
upon  the  Exposition  programme.  Amateur  events  staged  at  the 
Civic  Auditorium  excited  great  interest.  By  a  special  arrange- 
ment with  the  Amateur  Athletic  Union,  the  Exposition  manage- 
ment obtained  the  national  winners  of  Boston  for  the  San  Fran- 
cisco tournament.  Accordingly,  the  best  of  the  country's  amateur 
glove  crop  exhibited  their  wares  to  big  galleries.  In  the  matter 
of  championships,  California  and  the  Pacific  Northwest  obtained 
the  chief  honors,  several  of  the  Eastern  ring  stars  falling  by  the 
wayside  in  their  work. 

Not  to  be  found  wanting  in  the  completeness  of  their  scheme, 
the  Exposition  directors  are  still  busy  with  plans  which  promise 
many  events  of  unusual  attactiveness  for  the  Fall.  It  is  hinted  that 
the  winner  of  the  world's  baseball  series,  waged  between  the  Na- 
tional and  American  leagues,  will  be  brought  to  the  Coast  for  an 
exhibition  series  in  October,  to  play  against  an  all-star  team.  Other 
phases  of  sport  during  the  Exposition  period  include  rowing,  lawn 
tennis,  handball  and  certain  types  of  football,  though  disagree- 
ments between  the  two  largest  universities  of  the  Coast  have  made 
the  autumn  sport  an  uncertain  quantity. 


THE  WASHINGTON  BUILDING,  A.  F.  Heide,  architect,  is  a  roomy  structure  with 
an  imposing  classical  facade. 


THE  OREGON  BUILDING,  Foulkes  and  Hague,  of  Portland,  architects,  is  an 
enlargement,  with  some  changes,  of  the  Parthenon  at  Athens,  done  in  huge 
Oregon  logs.  Both  of  the  buildings  shown  above  contain  interesting  exhibits 
of  the  resources  of  their  states. 


(  P. 191  ) 


.2- 


XX. 

THE  JOY  ZONE 

A  mile  of  amusement  places,  many  of  which  are  really  educational 
— The  Panama  Canal,  Grand  Canyon,  Yellowstone  Park  and 
the  native  villages— "The  101  Ranch"— "Toy land  Grown  Up" 
— Other  notable  features. 


HE  JOY  ZONE,  nearly  a  mile  in  length,  is  a  broad 
avenue  bordered  with  closely  packed  places  of  amuse- 
ment. There  are  more  than  one  hundred  concession- 
aires, with  two  hundred  and  twenty  buildings  de- 
voted to  refreshment  or  pleasure,  including  a  few  in 
other  places  on  the  grounds.  Here  are  all  sorts  of  divertissements, 
from  roller  coasters  to  really  great  educational  sights  like  the 
Panama  Canal  or  the  Grand  Canyon. 

By  common  consent  the  PANAMA  CANAL  is  the  most  note- 
worthy feature  of  the  Zone.  Indeed,  it  ought  not  to  be  on  the 
Zone.  It  should  have  had  a  place  in  the  Exposition  proper,  as 
one  of  its  finest  exhibits.  The  show  is  a  working  reproduction 
of  the  Panama  Canal,  on  so  large  a  scale  that  it  covers  five  acres. 
The  landscape  of  the  Canal  Zone  is  faithfully  reproduced,  with 
real  water  in  the  two  oceans,  the  Gatun  Lake,  the  Chagres  River 
and  the  Canal.  The  visitor  sees  it  from  cars  which  travel  slowly 
around  the  scene,  and  which  are  fitted  with  telephonic  connec- 
tions with  a  phonograph  that  explains  the  features  of  the  Canal 
Zone  as  the  appropriate  points  are  passed.  Next  to  seeing  the 
Canal  itself,  a  sight  of  this  miniature  is  the  most  interesting  and 
instructive  view  possible  of  the  great  engineering  feat.  In  one 
way  it  is  even  better  than  a  trip  through  the  Canal.  It  gives  the 
broad  general  view  impossible  from  any  point  on  the  Isthmus 
itself. 

In  much  the  same  class  are  the  reproductions  of  the  GRAND 
CANYON  and  the  YELLOWSTONE  PARK.  The  Grand  Canyon 
has  an  added  interest  in  the  presence  of  Navajo  and  Hopi  families 
living  in  reproductions  of  their  desert  homes.  Representing  other 
native  races,  there  are  the  SAMOAN  VILLAGE,  the  MAORI  VIL- 
LAGE, and  the  TEHUANTEPEC  VILLAGE.  All  these  people  are 
genuine  and  live  in  primitive  style  on  the  Zone,  though,  to  tell  the 
truth,  they  are  quite  likely  to  use  college  slang  and  know  which 
fork  to  use  first.  Not  on  the  Zone,  but  proper  to  be  mentioned 
here,  are  the  Blackfoot  Indians  brought  to  the  Exposition  from 
Glacier  Park  by  the  Great  Northern  Railroad.  Eagle  Calf  is  a  real 
chief  of  the  old  days,  and  his  band  is  a  picturesque  group. 


194  THE  JEWEL  CITY 

There  is  TOYLAND  GROWN  UP,  a  product  of  the  astonishing 
genius  of  Frederic  Thompson,  creator  of  Luna  Park,  covering 
nearly  twelve  acres  and  packed  with  Thompson's  whimsical  con- 
ceptions of  the  figures  of  the  Mother  Goose  Tales,  Kate  Greenway's 
children,  and  soldiers  and  giants,  and  the  familiar  toys  of  the 
Noah's  Ark  style — all  on  a  gigantic  scale.  JAPAN  BEAUTIFUL,  a 
concession  backed  by  the  Japanese  Government,  has  many  inter- 
esting features,  including  the  enormous  gilded  figure  of  Buddha 
over  the  entrance  and  a  reproduction  of  Fujiyama  in  the  back- 
ground. Then  there  is  an  Antarctic  show  entitled  "LONDON  TO 
THE  SOUTH  POLE;"  the  STREETS  OF  CAIRO;  the  SUBMARINES, 
with  real  water  and  marine  animals;  CREATION,  a  vast  dramatic 
scene  from  Genesis;  the  BATTLE  OF  GETTYSBURG;  the  EVOLU- 
TION OF  THE  DREADNAUGHT;  and  many  other  spectacles  and 
entertainments  of  many  classes,  but  all  measuring  up  to  a  certain 
standard  of  excellence  insisted  upon  by  the  Exposition.  The 
AEROSCOPE,  a  huge  steel  arm  that  lifts  a  double-decked  cabin 
more  than  two  hundred  and  fifty  feet  above  the  ground  and  then 
swings  it  around  in  a  great  circle  over  the  Zone,  is  one  of  the 
thrillers. 

The  Joy  Zone  has  suffered  from  the  excellence  of  the  Exposi- 
tion to  which  it  is  the  side-show.  The  Exposition  itself  is  so 
wonderful  a  sight  and  contains  so  vast  a  number  of  remarkable 
and  interesting  things  that  multitudes  have  been  content  to  stay 
with  it,  too  much  engrossed  to  find  time  for  any  but  a  few  of  the 
best  things  on  the  Zone.  No  better  evidence  could  be  found 
of  the  beauty,  interest  and  value  of  this  Exposition. 


APPENDIX 


(A)   SCULPTURES  AND  MURAL  PAINTINGS 

The  following  lists  give  the  titles,  locations,  and  names  of 
artists  of  the  Exposition  Sculptures  and  Mural  Paintings.  They 
do  not  include  work  exhibited  in  the  Palace  of  Fine  Arts,  or  in 
the  state  or  foreign  buildings,  but  only  those  which  were  designed 
for  the  adornment  of  the  Exposition  palaces,  courts,  and  gardens. 

The  lists  also  index  all  matter  and  illustrations  describing  or 
showing  this  "Exposition  art.'*  Figures  in  light-face  type  refer  to 
pages  in  the  text;  those  in  black-face  type,  to  illustrations. 

I.  SCULPTURES. 

SOUTH  GARDENS. — Two  Mermaid  Fountains,  by  Arthur  Putnam  (21,  84,  99) ; 
Fountain  of  Energy,  by  A.  Stirling  Calder  (83,  47). 

PALACE  OF  HORTICULTURE. — Figures  at  bases  of  spires,  by  Eugene  Louis 
Boutier;  Pairs  of  Caryatids,  by  John  Bateman  (21). 

FESTIVAL  HALL. — The  Torch  Bearer  (on  domes),  Bacchus,  The  Listening 
Woman,  Flora  and  Pan,  Flora  and  Dreaming  Girl,  Figures  on  cartouche  over 
entrance,  all  by  Sherry  E.  Fry  (25,  26,  32). 

TOWER  OF  JEWELS. — Cortez  (east  side  of  arch),  by  Charles  Niehaus  (46, 
48) ;  Pizarro  (west  side  of  arch),  by  Charles  C.  Rumsey;  Priest,  Soldier,  Philos- 
opher and  Adventurer,  by  John  Flanagan  (46,  44) ;  Armored  Horseman  (on  ter- 
race of  tower),  by  F.  M.  L.  Tonetti  (46) ;  Fountain  of  Youth,  by  Edith  Woodman 
Burroughs  (49,  84,  89,  53);  Fountain  of  El  Dorado,  by  Gertrude  Vanderbilt 
Whitney  (49,  84,  89,  54). 

PALACE  OF  VARIED  INDUSTRIES.— Man  with  a  Pick,  Tympanum  group 
of  Varied  Industries,  New  World  Receiving  Burdens  of  Old,  Keystone  figure, 
Power  of  Industry,  all  by  Ralph  Stackpole  (33,  37,  138) ;  Victory  (on  the  gables 
of  all  the  central  palaces),  by  Louis  Ulrich  (28,  18). 

PALACES  OF  MANUFACTURES  AND  LIBERAL  ARTS.— Frieze  over  Portals, 
Craftsmen,  Woman  with  Spindle,  Man  with  Sledgehammer,  all  by  Mahonri 
Young  (33). 

PALACE  OF  EDUCATION. — Typanum  group,  Education,  by  Gustav  Gerlach 
(34,  138);  Panel,  Male  Teacher,  by  Cesare  Stea;  Panel,  Female  Teacher,  by  C. 
Peters  (34). 

WEST  FACADE  OF  PALACE  GROUP. — Thought  (on  columns  flanking  half 
domes),  by  Ralph  Stackpole;  The  Triumph  of  the  Field,  by  Charles  R.  Harley; 
Abundance,  by  Charles  R.  Harley;  Ex  Libris  (half  dome  of  Education),  by 
Albert  Weinert;  Physical  Vigor  (half  dome  of  Food  Products),  by  Earl  Cum- 
mings;  Vestibule  Fountains,  by  W.  B.  Faville  (all  on  pp.  34,  35). 

NORTH  FACADE  OF  PALACE  GROUP. — The  Conquistador  and  The  Pirate, 
both  by  Allen  Newman  (35,  43,  44). 

EAST  FACADE  OF  PALACE  GROUP.— The  Miner,  by  Albert  Weinert  (35). 

COLUMN  OF  PROGRESS. — The  Adventurous  Bowman,  by  Herman  A.  Mac- 
Neil  (56,  61,  57);  The  Burden  Bearers  (frieze  at  base  of  group),  by  Herman  A. 
MacNeil  (61) ;  Frieze  of  Progress  (frieze  on  pedestal),  by  Isidore  Konti  (61,  60). 

COURT  OF  THE  UNIVERSE.— Nations  of  East  and  West  (on  arches),  by  A. 
Stirling  Calder,  Leo  Lentelli  and  Frederick  G.  R.  Roth  (52,  55,  63,  59). 

Genii  on  Columns,  by  Leo  Lentelli;  Pegasus  Spandrels,  by  Frederick  G.  R. 


196  THE  JEWEL  CITY 

Roth;  Medallions,  by  B.  Bufano  and  A.  Stirling  Calder;  The  Stars,  by  A.  Stir- 
ling Calder;  Signs  of  the  Zodiac,  by  Herman  A.  MacNeil  (all  on  p.  52). 

Fountains  of  the  Rising  and  the  Setting  Sun,  by  A.  A.  Weinmann  (52,  90,  63, 
69) ;  The  Elements,  Earth,  Air,  Fire  and  Water,  by  Robert  Aitken  (52,  64) ;  Music 
and  Poetry,  by  Paul  Manship  (52). 

COURT  OF  THE  AGES. — Fountain  of  the  Earth,  by  Robert  Aitken  (65,  66,  72, 
91-5,  70,  73) ;  Columns  of  Earth  and  Air,  by  Leo  Lentelli  (66,  67) ;  Ages  of  Civili- 
zation (on  Altar)  and  Thought  (on  side  altars),  by  Chester  Beach  (66,  67,  70); 
Primitive  Man,  Primitive  WToman,  and  The  Hunter  (on  arcades),  by  Albert  Wein- 
ert  (66);  Modern  Time  Listening  to  the  Story  of  the  Ages  (in  North  Court),  by 
Sherry  E.  Fry  (67,  72). 

COURT  OF  SEASONS.— The  Harvest  (on  half  dome),  by  Albert  Jaegers; 
Rain  and  Sunshine  (on  columns),  by  Albert  Jaegers;  Feast  of  the  Sacrifice  (on 
pylons),  by  Albert  Jaegers  (76,  79) ;  Fountain  groups,  The  Seasons,  by  Furio  Pic- 
cirilli  (75-6,  90-1,  94);  Attic  figures  of  Abundance,  and  spandrels,  by  August 
Jaegers;  Fountain  of  Ceres  (forecourt),  by  Evelyn  Beatrice  Longman  (77,  91,  79). 

COURT  OF  FLOWERS. — The  Pioneer,  by  Solon  Borglum  (81,  87) ;  Fountain  of 
Beauty  and  the  Beast,  by  Edgar  Walter  (81,  95,  100) ;  Flower  Girls  (in  niches),  by 
A.  Stirling  Calder  (87,  100) ;  The  Fairy  (above  Italian  towers),  by  Carl  Gruppe; 
Lions,  by  Albert  Laessle. 

COURT  OF  PALMS.— The  End  of  the  Trail,  by  James  Earle  Fraser  (82,  86) ; 
Caryatids  (on  attic),  by  A.  Stirling  Calder  and  John  Bateman;  Spandrels  (over 
portals),  by  Albert  Weinert. 

PALACE  OF  MACHINERY.— Genius  of  Creation,  by  Daniel  Chester  French  (98, 
147) ;  Steam  Power,  Electricity,  Imagination,  Invention;  Friezes,  Genii  of  Machin- 
ery; Reliefs  on  bases  of  columns,  Application  of  Power  to  Machines;  all  by  Haig 
Patigian  (97,  111) ;  Eagles,  by  C.  H.  Humphries  (97). 

PALACE  OF  FINE  ARTS. — The  Weeping  Woman  (on  colonnade  flower  boxes), 
by  Ulric  H.  Ellerhusen  (102,  113);  The  Struggle  for  the  Beautiful  (three  panels 
repeated  on  attic  of  Rotunda),  by  Bruno  Louis  Zimm  (102,  114) ;  Figures  between 
panels,  by  Ulric  H.  Ellerhusen;  Venus,  Altar  of  Inspiration,  by  Ralph  Stackpole 
(103,  137) ;  Frieze  of  Genius  (on  Altar),  by  Bruno  Louis  Zimm;  the  Priestess  of 
Culture  (in  Rotunda),  by  Herbert  Adams  (103) ;  Aspiration  (over  main  portal), 
by  Leo  Lentelli;  Decorations  on  Flower  Receptacles,  by  Ulric  H.  Ellerhusen  (103). 

II.  MURAL  PAINTINGS. 

TOWER  OF  JEWELS. — West  panel — Joining  of  Atlantic  and  Pacific,  center; 
Discovery,  left;  Purchase,  right.  East  panel — Gateway  of  All  Nations,  center; 
Labor  Crowned,  left;  Achievement,  right;  all  by  William  de  Leftwich  Dodge 
(46,53). 

ARCH  OF  THE  NATIONS  OF  THE  EAST. — South  panel — The  Western  March 
of  Civilization;  North  panel — Ideals  Attending  Immigration;  both  by  Edward 
Simmons  (55-6). 

ARCH  OF  THE  NATIONS  OF  THE  WEST. — North  panel — Pioneers  Leaving 
for  the  West;  South  panel — Pioneers  Arriving  on  Pacific  Coast;  both  by  Frank 
Vincent  Du  Mond  (56,  frontispiece). 

COURT  OF  THE  AGES. — Earth,  two  panels  (northwest  corner  of  corridor) ; 
Air,  two  panels  (southwest  corner  of  corridor) ;  Water,  two  panels  (south- 
east corner  of  corridor) ;  Fire,  two  panels  (northeast  corner  of  corridor) ;  all 
by  Frank  Brangwyn  (67,  68,  71,  74). 

COURT  OF  SEASONS. — Art  Crowned  by  Time  (in  half  dome) ;  Man  Receiving 
Instruction  in  Nature's  Laws  (in  half  dome) ;  Spring  and  Seedtime  (two  panels 
in  corridor  before  niche  of  Spring) ;  Summer  and  Fruition  (two  panels  in  cor- 
ridor before  niche  of  Summer) ;  Autumn  and  Harvest  (two  panels  in  corridor 


APPENDIX  197 

before  niche  of  Autumn) ;  Winter  and  Festivity  (two  panels  in  corridor  before 
niche  of  Winter) ;  all  by  H.  Milton  Bancroft  (75,  76). 

COURT  OF  PALMS. — Fruits  and  Flowers  (lunette  over  entrance  of  Palace 
of  Education),  by  Childe  Hassam;  The  Pursuit  of  Pleasure  (lunette  over  en- 
trance of  Palace  of  Liberal  Arts),  by  Charles  Hollo  way;  The  Triumph  of  Culture, 
sometimes  called  The  Victorious  Spirit  (lunette  over  entrance  of  Court  of  Sea- 
sons), by  Arthur  Mathews  (all  on  P.  82). 

ROTUNDA,  PALACE  OF  FINE  ARTS. — The  Conception  and  Birth  of  Art, 
four  panels  alternated  with  four  panels  of  the  Golds  of  California.  In  order 
they  are:  The  Birth  of  European  Art,  the  Orange  Panel,  Inspiration  in  All 
Art,  the  Wheat  Panel,  the  Birth  of  Oriental  Art,  Metallic  Gold,  Ideals  in  Art, 
the  Poppy  Panel;  all  by  Robert  Reid  (103,  104). 


(B)    STATISTICS  OF  CONSTRUCTION  WORK 

Palace                                                           Size,  feet          Exhibit  area  Cost 

Mines  and  Metallurgy 451  x  579             5.75  acres  $359,445 

Transportation 579  x  614             7.25  acres  481,677 

Agriculture    579  x  639             7.5     acres  425,610 

Food  Products  424  x  579             5.4     acres  342,551 

Varied  Industries 414  x  541             5.       acres  312,691 

Manufactures    475  x  552             5.35  acres  341,069 

Liberal  Arts   475  x  585             5.75  acres  344,180 

Education    394  x  526             4.7     acres  425,610 

Machinery    972  x  372             9.       acres  659,665 

Fine  Arts 1100  x  186             5.       acres  580,000 

Horticulture    672x329             5.       acres  341,000 

Festival  Hall  seats  4000  270,000 

Tower  of  Jewels 435  feet  high  428,000 

Dome  of  Palace  of  Horticulture  185  feet  high,  152  feet  in  diameter. 

Paved  area  within  the  Exposition  grounds,  4,000,000  square  feet,  or  91.5  acres. 
At  an  average  width  of  40  feet,  this  is  equal  to  nearly  20  miles  of  asphalt. 


(C)    THE  EXPOSITION  ROSTER 

PRESIDENT. — Charles  C.  Moore. 

VICE-PRESIDENTS. — William  H.  Crocker,  Reuben  B.  Hale,  I.  W.  Hellman,  Jr., 
M.  H.  de  Young,  Leon  Sloss,  James  Rolph,  Jr. 

SECRETARY.— Rudolph  J.  Taussig. 

TREASURER.— A.  W.  Foster. 

BOARD  OF  DIRECTORS. — John  Barneson,  M.  J.  Brandenstein,  John  A.  Britton, 
Frank  L.  Brown.  George  T.  Cameron,  Philip  T.  Clay,  William  H.  Crocker, 
R.  A.  Crothers,  M.  H.  de  Young,  A.  I.  Esberg,  Charles  S.  Fee,  H.  F.  Fortmann, 
A.  W.  Foster,  R.  B.  Hale,  I.  W.  Hellman,  Jr.,  Homer  S.  King,  Curtis  H.  Lindley, 
P.  H.  McCarthy,  James  McNab,  Charles  C.  Moore,  Thornwell  Mullally,  Dent  H. 
Robert,  James  Rolph,  Jr.,  A.  W.  Scott,  Jr.,  Henry  T.  Scott,  Leon  Sloss,  Charles 
S.  Stanton,  Rudolph  J.  Taussig,  Joseph  S.  Tobin. 

EXECUTIVE  STAFF. — Director-in-Chief,  Frederick  J.  V.  Skiff;  Director  of 
Works,  Harris  D.  H.  Connick;  Director  of  Exhibits,  Asher  Carter  Baker;  Director 
of  Exploitation,  George  Hough  Perry;  Director  of  Concessions  and  Admissions, 
Frank  Burt. 

ARCHITECTURAL  COMMISSION. — George  W.  Kelham,  San  Francisco,  Chief 
of  Architecture;  Willis  Polk,  William  B.  Faville,  Clarence  R.  Ward,  and  Louis 


198  THE  JEWEL  CITY 

Christian  Mullgardt,  San  Francisco;  Robert  Farquhar,  Los  Angeles;  McKim, 
Mead  &  White,  Carrere  &  Hastings,  and  Henry  Bacon,  New  York.  Associate 
Architects:  Arthur  Brown,  Jr.,  G.  Albert  Lansburgh,  Bernard  R.  Maybeck,  San 
Francisco. 

DIVISION  OF  WORKS.— Director,  Harris  D.  H.  Connick;  Assistant  Director  of 
Works  and  Chief  of  Department  of  Construction,  A.  H.  Markwart;  Chief  of 
Architecture,  George  W.  Kelham;  Chief,  Department  of  Sculpture,  K.  T.  F.  Bitter; 
Acting  Chief,  A.  Stirling  Calder;  Chief,  Department  of  Color  and  Decoration, 
Jules  Guerin;  Chief,  Department  Civil  Engineering,  E.  E.  Carpenter;  Chief, 
Mechanical  and  Electrical  Engineering,  Guy  L.  Bayley;  Chief,  Department  of 
Illumination,  W.  D'A.  Ryan;  Chief,  Department  of  Landscape  Gardening,  John 
McLaren. 

DIVISION  OF  EXHIBITS.— Director,  Asher  Carter  Baker;  Chief,  Department 
of  Fine  Arts,  John  E.  D.  Trask;  Assistant  Chief,  Department  of  Fine  Arts,  Robert 
B.  Harshe;  Chief,  Department  of  Education  and  Social  Economy,  Alvin  E.  Pope; 
Chief,  Department  of  Liberal  Arts,  Theodore  Hardee;  Chief,  Department  Manu- 
factures and  Varied  Industries,  Charles  H.  Green;  Chief,  Department  of  Ma- 
chinery, George  W.  Danforth;  Chief,  Department  of  Transportation,  Blythe  E. 
Henderson;  Chief,  Department  of  Agriculture,  Thomas  G.  Stallsmith;  Chief, 
Department  of  Live  Stock,  D.  O.  Lively;  Assistant  Chief,  Department  of  Live 
Stock,  I.  D.  Graham;  Chief,  Department  of  Horticulture,  G.  A.  Dennison;  Chief, 
Department  of  Mines  and  Metallurgy,  C.  E.  van  Barneveld. 

OTHER  DEPARTMENT  HEADS. — Traffic  Manager,  Andrew  M.  Mortensen. 
General  Attorney,  Frank  S.  Brittain.  Commandant  of  Exposition  Guards,  Captain 
Edward  Carpenter,  U.  S.  A.  Director  of  Congresses,  James  A.  Barr.  Director  of 
Music,  George  W.  Stewart.  Director  of  Special  Events,  Theodore  Hardee.  Chief 
of  Special  Events,  Hollis  E.  Cooley.  Chairman  of  Music  Committee,  J.  J.  Levison. 

CALIFORNIA  STATE  COMMISSION. — Governor  Hiram  W.  Johnson,  ex  officio; 
Matt  I.  Sullivan,  President,  San  Francisco;  Chester  H.  Row  ell,  Fresno;  Marshall 
Stimson,  Los  Angeles;  Arthur  Arlett,  San  Francisco.  Commissioner  General, 
W.  D.  Egilbert.  Secretary,  F.  J.  O'Brien.  Controller,  Leo  S.  Robinson. 

WOMAN'S  BOARD  OF  THE  EXPOSITION. — Honorary  President,  Mrs.  Phoebe 
A.  Hearst;  President,  Mrs.  F.  G.  Sanborn;  Vice-Presidents,  Mrs.  Lovell  White,  Mrs. 
I.  Lowenberg,  Mrs.  W.  H.  Taylor,  Mrs.  John  F.  Merrill,  Mrs.  Frank  L.  Brown, 
Mrs.  Irving  M.  Scott;  Secretary,  Mrs.  Gaillard  Stoney;  Treasurer,  Mrs.  P.  E. 
Bowles;  Assistant  Treasurer,  Mrs.  E.  R.  Dimond;  Auditor,  Mrs.  Charles  W.  Slack. 
Directors,  Mrs.  Edson  F.  Adams,  Mrs.  Frank  B.  Anderson,  Mrs.  P.  E.  Bowles, 
Dr.  Marian  Bertola,  Mrs.  Frank  L.  Brown,  Mrs.  Aylett  R.  Cotton,  Mrs.  Francis 
Carolan,  Mrs.  Edwin  R.  Dimond,  Mrs.  Joseph  A.  Donohoe,  Mrs.  Joseph  D.  Grant, 
Mrs.  Reuben  B.  Hale,  Mrs.  P.  C.  Hale,  Mrs.  Phoebe  A.  Hearst,  Mrs.  I.  W.  Hellman, 
Jr.,  Mrs.  C.  Edward  Holmes,  Mrs.  John  Johns,  Mrs.  Henry  Krebs,  Mrs.  Jesse  N. 
Lilienthal,  Mrs.  I.  Lowenberg,  Miss  Laura  McKinstry,  Mrs.  John  F.  Merrill,  Mrs. 
Robert  Oxnard,  Mrs.  Horace  D.  Pillsbury,  Mrs.  George  A.  Pope,  Mrs.  F.  G. 
Sanborn,  Mrs.  Henry  T.  Scott,  Mrs.  Laurence  Irving  Scott,  Mrs.  William  T. 
Sesnon,  Mrs.  Ernest  G.  Simpson,  Mrs.  Charles  W.  Slack,  Mrs.  M.  C.  Sloss,  Mrs. 
Gaillard  Stoney,  Mrs.  William  Hinckley  Taylor,  Mrs.  William  S.  Tevis,  Mrs. 
Lovell  White,  Mrs.  Edward  Wright. 

FOREIGN  COMMISSIONERS 

ARGENTINA. — Horacio  Anasagasti,  Resident  Commissioner  General;  Alberto 
M.  D'Alkaine,  Secretary. 

AUSTRALIA. — Alfred  Deakin,  Commissioner  General,  resigned;  Niel  Nielsen, 
New  South  Wales;  F.  W.  Hagelthorn,  Victoria;  F.  T.  A.  Fricke,  Victoria,  Deputy 
Commissioner;  J.  A.  Robertson,  Queensland;  George  Oughton,  Secretary. 


APPENDIX  199 

BOLIVIA. — Manuel  Vicente  Ballivian,  Commissioner  General. 

CANADA. — William  Hutchison,  Canadian  Exhibition  Commissioner. 

CHINA. — Chen  Chi,  Resident  Commissioner  General;  Allan  S.  Chow,  Secretary. 

CUBA. — General  Enrique  Loynaz  del  Castillo,  Commissioner  General;  Dr. 
Amando  Montero,  Secretary. 

DENMARK. — Otto  Wadsted,  Resident  Commissioner. 

FRANCE. — Albert  Tirman,  Commissioner  General;  Jean  Guyffrey,  Secretary. 

GUATEMALA. — Jose  Flamenco,  Resident  Commissioner;  Fernando  Cruz,  Sec. 

HONDURAS. — Antonio  A.  Ramirez  F.  Fontecha,  Commissioner  General;  Fer- 
nando Somoza  Vivas,  Resident  Commissioner. 

ITALY. — Ernesto  Nathan,  Commissioner  General;  Vito  Catastini,  Secretary. 

JAPAN. — Haruki  Yamawaki,  Resident  Commissioner  General;  Shinji  Yoshino, 
Secretary. 

NETHERLANDS. — H.  A.  van  Coenen  Torchiana,  Resident  Commissioner. 

NEW  ZEALAND. — Edmund  Clifton,  Commissioner  General;  M.  O'Brien,  Sec. 

NORWAY.— F.  Herman  Gade,  Commissioner  General;  Birger  A.  Guthe,  Sec. 

PERSIA. — Mirza  Ali  Kuli  Khan,  Commissioner  General. 

PORTUGAL. — Manuel  Roldan,  Commissioner  General. 

SIAM. — James  H.  Gore,  Commissioner  General;  A.  H.  Duke,  Secretary. 

SPAIN. — Count  del  Valle  de  Salazar,  Representative. 

SWEDEN. — Richard  Bernstrom,  Commissioner  General ;  Herman  Virde,  Sec. 

TURKEY. — Vahan  Cardashian,  Imperial  Adjutant  High  Commissioner. 

URUGUAY. — Eduardo  Perotti,  Commissioner  General. 


COMMISSIONERS  FROM  STATES  AND  ISLANDS 

NATIONAL  COMMISSION.— William  Phillips,  Chairman;  Franklin  D.  Roose- 
velt, Judge  W.  B.  Lamar ;  F.  N.  Bauskette,  Secretary. 

ARKANSAS. — F.  B.  T.  Hollenberg,  Commissioner  General. 

CALIFORNIA. — Matt  I.  Sullivan,  President;  W.  D.  Egilbert,  Commissioner 
General;  F.  J.  O'Brien,  Secretary. 

HAWAII.— H.  P.  Wood,  Chairman. 

IDAHO. — Jay  A.  Czizek,  Executive  Commissioner. 

ILLINOIS. — Adolph  Karpen,  Chairman;  Guy  E.  Cramer,  Resident  Executive; 
John  G.  Oglesby,  Secretary. 

INDIANA. — S.  P.  Hamilton,  Resident  Commissioner. 

IOWA. — W.  W.  Marsh,  Chairman. 

KANSAS. — George  H.  Hodges,  President;  H.  S.  Dean,  Secretary. 

MARYLAND. — Roberdeau  A.  McCormick,  Chairman;  Robert  J.  Beachman,  Sec. 

MASSACHUSETTS. — Peter  H.  Corr,  Chairman;  Charles  O.  Power,  Secretary. 

MISSISSIPPI. — Isham  Evans,  Chairman;  D.  Ben  Holmes,  Secretary. 

MISSOURI. — John  L.  McNatt,  Chairman;  Norman  M.  Vaughan,  Secretary. 

MONTANA.— David  Hilger,  Chairman;  Frank  A.  Hazelbaker,  Secretary. 

NEVADA. — George  T.  Mills,  Commissioner. 

NEW  JERSEY. — Robert  S.  Hudspeth,  President;  Charles  F.  Pancoast,  Sec. 

NEW  YORK. — Norman  E.  Mack,  Chairman;  Daniel  L.  Ryan,  Secretary. 

NORTH  DAKOTA.— Governor  L.  B.  Hanna,  Chairman;  Will  E.  Holbein,  Sec. 

OHIO. — D.  B.  Torpey,  Resident  Commissioner. 

OKLAHOMA. — J.  J.  Dunn,  Resident  Commissioner ;  Mrs.  Fred  E.  Sutton,  Sec. 

OREGON. — O.  M.  Clark,  Chairman;  George  Hyland,  General  Manager. 

PENNSYLVANIA. — Martin  G.  Brumbaugh,  President;  A.  G.  Hetherington, 
Director  in  Charge;  C.  E.  Carothers,  Secretary. 


200  THE  JEWEL  CITY 

PHILIPPINES.— Leon  M.  Guerrero,  President;  W.  W.  Barkley,  Secretary. 

TEXAS. — Mrs.  Eli  Hertzberg,  Chairman;  J.  T.  Bowman,  Secretary. 

UTAH. — Glen  Miller,  Chairman;  Mae  Lail,  Secretary. 

VIRGINIA.— W.  W.  Baker,  Chairman;  Alexander  Forward,  Secretary. 

WASHINGTON. — John  Schramm,  President;  Charles  G.  Heifner,  Executive 
Commissioner. 

WEST  VIRGINIA. — Paul  Grosscup,  Chairman ;  G.  O.  Nagle,  Secretary. 

WISCONSIN. — John  T.  Murphy,  Chairman;  Arthur  W.  Prehn,  Resident  Com- 
missioner; D.  E.  Bowe,  Secretary. 


(D)   BIBLIOGRAPHY 

The  Panama-Pacific  Exposition  presents  so  many  aspects  of 
public  importance  that  it  will  doubtless  inspire  a  considerable 
library  of  books  upon  its  various  features.  Those  heretofore  pub- 
lished, however,  agree  in  testifying  to  the  unprecedented  appeal 
which  it  makes  on  its  artistic  side;  they  have  attempted  little  more 
than  to  describe  the  architecture  of  the  main  exhibit  palaces,  and 
interpret  the  sculpture  and  murals  which  adorn  them. 

Of  the  titles  given  below,  the  first  two  volumes  are  wholly  of 
this  character.  Mrs.  James*  little  book  has  especial  reference  to 
the  story  told  by  the  decorative  sculpture.  The  attractive  Neu- 
haus  volume  is  a  more  critical  discussion  of  the  Exposition  art, 
as  distinguished  from  exhibits  in  the  Palace  of  Fine  Arts,  which 
are  to  be  covered  by  Prof.  Neuhaus'  second  book.  To  an  outline  of 
Exposition  art,  Mr.  Cheney's  booklet  adds  a  brief,  helpful  account 
of  the  Fine  Arts  exhibit.  Mr.  Barry's  more  ambitious  volume 
opens  with  an  interesting  chapter  on  the  Exposition's  inception 
and  growth;  the  remainder  of  the  text  "is  mainly  devoted  to  the 
artistic  features  associated  with  the  courts  and  the  main  palaces." 

The  other  books  named  describe  and  show  "Exposition  art." 

PALACES  AND  COURTS  OF  THE  EXPOSITION,  by  Juliet  James, 
16mo.,  151  pp.,  including  32  illustrations.  San  Francisco,  the  Cali- 
fornia Book  Co. 

THE  ART  OF  THE  EXPOSITION,  by  Eugen  Neuhaus.  8vo.,  100 
pp.,  with  32  ills.  San  Francisco,  Paul  Elder  &  Co. 

AN  ART-LOVER'S  GUIDE  TO  THE  EXPOSITION,  by  Sheldon 
Cheney.  12mo.,  100  pp.,  including  20  ills.  Berkeley,  published  by 
the  author. 

THE  CITY  OF  DOMES,  by  John  D.  Barry.  12mo.,  142  pp.,  with 
48  ills.  San  Francisco,  J.  J.  Newbegin. 

IN  THE  COURT  OF  THE  AGES  (Poems),  by  Edward  Robeson 
Taylor.  8vo.,  33  pp.,  7  ills.  San  Francisco,  A.  M.  Robertson. 

THE  SCULPTURE  AND  MURALS  OF  THE  PANAMA-PACIFIC 
INTERNATIONAL  EXPOSITION,  by  Stella  G.  S.  Perry.  12mo.,  112 
pp.,  including  47  ills.  San  Francisco,  the  Wahlgreen  Co. 

THE  GALLERIES  OF  THE  EXPOSITION,  by  Eugen  Neuhaus. 
8vo.,  108  pp.,  with  30  ills.  Paul  Elder  &  Co. 

THE  SCULPTURE  OF  THE  EXPOSITION  PALACES  AND 
COURTS,  by  Juliet  James.  12mo.,  32  ills.  San  Francisco,  H.  S. 
Crocker  Co. 


INDEX 

In  order  not  to  overload  this  index  with  details  which,  for  most  readers,  would 
render  it  inconvenient,  only  the  more  important  sculptures  and  murals  among 
the  "Exposition  art"  have  been  listed  here,  together  with  the  different  national 
and  historical  sections  of  the  Fine  Arts  Palace,  and  the  names  of  artists  men- 
tioned most  frequently  in  the  text.  Fuller  lists  will  be  found  on  pp.  130-133 
(winners  of  grand  prizes,  medals  of  honor  and  gold  medals  in  the  Fine  Arts 
Exhibit)  and  pp.  194-5  (murals  and  sculptures). 

Figures  in  light-face  type  refer  to  pages  in  the  text,  those  in  heavier  type  to 
the  illustrations. 


Abbey,  Edwin  A.,  painter,  107,  115. 

Adams,  Herbert,  sculptor,  103,  104. 

"Adventurous  Bowman,  The,"   56,  58. 

Agriculture,  Palace  of,  16;  architec- 
ture and  sculpture,  35,  36,  51;  ex- 
hibits, 146,  152. 

"Air,"  sculpture  by  Aitken,  52;  mu- 
rals by  Brangwyn,  67-71,  74. 

Aitken,  Robert,  sculptor,  52,  72,  91. 

"Among  the  White  Birch  Trunks,"  128, 
126. 

Arabian  Nights,  Fountain  of,  82. 

Arch,  Tower  of  Jewels,  42,  51,  53. 

Arches  of  the  Court  of  Seasons,  77. 

Arches  of  the  Rising  and  the  Setting 
Sun,  architecture,  51;  sculpture,  52, 
55;  murals,  55,  56;  frontispiece,  59, 
63. 

Architects,  Board  of,  13. 

Architecture,  main  palace  group,  27- 
36;  Tower  of  Jewels,  49;  Court  of 
the  Universe,  51;  Court  of  the  Ages, 
65-7;  Court  of  Seasons,  75;  Court  of 
Flowers  and  Palms,  78;  Palace  of 
Machinery,  96;  Fine  Arts,  101-2. 

Argentina,  appropriates  $1,700,000  for 
its  representation  at  P.  P.  I.  E.,  14; 
Fine  Arts  exhibit,  129,  131;  forestry 
exhibit,  153;  pavilion,  154,  155,  169. 

Arkansas,  building,  176. 

Australia,  Fine  Arts  exhibit,  131;  pa- 
vilion, 155,  148. 

Autumn,  Fountain  of,  76,  91. 

Avenue  of  Palms,  16,  18. 

Aviation,  151,  188,  17,  192. 

Awards  in  Fine  Arts  exhibit,  130-133. 

Bacon,  Henry,  architect,  13,  75. 

Bancroft,  H.  Milton,  mural  painter,  75, 
76. 

Baths  of  Caracalla,  96. 

Beach,  Chester,  sculptor,  66. 

Beachey,  Lincoln,  aviator,  151. 

"Beauty  and  the  Beast,"  Fountain  of, 
81;  described,  95,  10O. 

Belgium,  exhibits  in  French  Pavilion, 
108,  164. 

Bennett,  Edward  H.,  architect,  plan  for 
Exposition,  13. 

Bitter,  Karl  T.  F.,  chief  of  sculpture, 
14,  104,  110. 

Blank  Walls,  use  of  in  Exposition  ar- 
chitecture, 28. 

Bolivia,  pavilion,  156. 

Borglum,  Solon,  sculptor,  81. 

Boston  Symphony  Orchestra,  142-145. 

Brangwyn,  Frank,  painter,  67-71,  82; 
etchings,  110. 


Brown,  Arthur,  architect,  13. 

Burbank,  Luther,  exhibitor,  153. 

Burroughs,  Edith  Woodman,  sculptor, 
49,  89. 

Byzantine  architecture,  27,  28. 

Calder,  A.  Stirling,  sculptor,  52,  55,  61, 
81,  83,  84. 

California,  votes  $5,000,000  bonds  for 
Exposition,  13;  Counties  raise  $2,- 
500,000,  14;  Mining  exhibit,  150; 
building,  171,  179,  182. 

Canada,  pavilion,  156,  161,  148. 

Ceres,  Fountain  of,  77,  91,  79. 

Chase,  William  M.,  painter,  117. 

Chicago,  exhibit,  175. 

China,  Fine  Arts  exhibit,  109,  127,  128, 
132;  industrial  exhibits,  152;  pavil- 
ion, 161,  162. 

Color  of  Exposition  palaces,  36-41. 

Column  of  Progress,  16,  36;  descrip- 
tion, 50,  51,  56,  61,  57,  58;  frieze, 
61,  60;  night  illumination,  140.  See 
also  "Adventurous  Bowman." 

"Cortez,"  46,  48. 

Cortissoz,  Royal,  art  critic,  quoted,  140. 

Court,  key  to  the  palace  group,  50. 

Court  of  Abundance,  see  Court  of  the 
Ages. 

Court  of  the  Ages  (or  Court  of  Abun- 
dance), 16;  its  gardens,  20;  archi- 
tecture, sculpture,  and  symbolism, 
65-72,  70;  Fountain  of  Earth,  72,  73; 
Brangwyn's  murals,  67,  68,  71,  74; 
night  illumination,  139,  140. 

Court  of  Flowers,  16;  Garden  in,  20; 
Portals,  34;  architecture,  sculpture 
and  gardening,  78,  81,  82,  95,  85; 
Fountain  of  "Beauty  and  the  Beast," 
81,  100;  "The  Pioneer,"  81,  87. 

Court  of  Palms,  16;  Portals,  34;  archi- 
tecture, sculpture  and  gardening,  78, 
81,  82,  95,  88,  93;  "The  End  of  the 
Trail,"  82,  86. 

Court  of  Seasons,  16;  architecture, 
sculpture  and  murals,  75-77;  night 
illumination,  139,  140,  79,  80,  94. 

Court  of  the  Universe,  16;  its  gardens, 
20;  its  coloring,  39;  architecture, 
sculpture  and  murals,  50-62;  in- 
scriptions, 62;  night  illumination, 
139,  140. 

Coxhead,  Ernest,  architect,  prepares 
first  plans  for  Exposition,  14. 

Crocker,  W.  H.,  vice-president  of  the 
Exposition,  197. 


202  THE  JEWEL  CITY 

Cuba,  rare  trees  and  plants  in  Palace  Fountain  of  Earth,  66,  67,  72;  symbol- 

of   Horticulture,    22,    25;    Fine   Arts        ism  of,  91,  92;  illumination  of,  95, 

exhibit,  122,  127,  132;  industrial  ex-        70,  73. 

hibits,     152;     horticultural     exhibit,  Fountain  of  El  Dorado,  49,  84,  89,  54. 

153;  pavilion,  162.  Fountain  of  Energy,  16;  described,  83, 
Deniville,  Paul,  his  imitations  of  tra-        84,  47. 

vertine,  40,  96.    •  Fountains  of  the  Rising  and  the  Set- 
Denmark,     paintings,     108;     pavilion,        ting  Sun,  52,  90,  63,  69. 

162.  Fountains   of  the   Seasons,   75,   76,   90, 
De  Young,  M.  H.,  vice-president  of  the        915  fountain  of  Summer,  94. 

Exposition,  197.  Fountain  of  Youth,  49,  84,  89,  53. 

Dodge,    William    de    Leftwich,    mural  Fountain,  The  Mermaid,  84,  99. 

painter    46     49  France,    Fine    Arts    exhibit,    107,    108, 
Du  Mond,'  F.  V.,  painter,  55,  56,  118.  109,  110,  122-124,  130;  pavilion,  162, 

T)iivpr»pf»"k     Prank     r»aintpr     117  163,    164,   157,  158. 

EartrCFkoumatakor66t>er67"72;  sym-  ^^  James  Earle,  sculptor  82 

boHsm  of,  91,  92;  Hlumination,  9o,  H^^^S  ^^,^^1. 

^m^by^rangwJn^Tl'  ™'  **'  i&i&Mi. 

E,SeatioSnbLdrasnogcTayin EcoJomy,   Pal-  fallen- Kallela    Axel,  painter •    HO 

SS.'WSa'K  ??2d  ?^'P-  S2S&  Gu£S?S»   *"'  "*' 

25^^s»iv»- 

* 

K$£$2?-X  fkjy-  »J35EM>.  78. 

F??hin«    191    i??  Guatemala,  pavilion,  161. 

Etching,  1J1,  122.  Guerin,  Jules,  chief  of  color,  14;  color 

rairy  laies,  »/.  srhpmp    ^fi-41    4Q    i?l 

Farquhar,  Robert,  architect,  13,  25.  Hale    R    B     oroDoses  Exoosition    11- 

Faville,  Wm.  B.,  architect,  13,  27,  35.  ™f'    „    "iHmt    i<?7     ^xP°sition,  11, 

"Feast  of  the  Sacrifice,  The,"  76,  79.  ^SSSS^&^&^f.  82,  117. 

Festival    Hall      16;    architecture    and  Hastings,  Thomas,  architect   13. 

sculpture    25,  26;  organ    26 ;  music  Hawaii,  exhibits,  153;  building,  177. 

in,    141-5;    organ   an    exhibit,    152;  Hearst,  Mrs.  Phoebe  A.,  171. 

rfSBftar*  relation  to  Expo-  ^SS^S^^*™""*  °f 

arch?teScturf  aS^uUrt'  litlJI  j  "*ffi  ^Ide:  Return  of  the  Fishermen," 

murals,    103,    104;    statuary    in    ro-  Holloway, 'Charles,  painter,  82. 

*5^df,  5°*     colonnade,      104,    130;  Honduras,  pavilion,  161. 

should  be  preserved  m  Golden  Gate  Hoo  Hoo    House  of    25. 

Park,  104,  107;  The  Annex,  107,  109;  Horticulture,   Palace  of,   16;   architec- 

night    illumination,    140,    112,    113,        ture   and   sculpture,    21,    22;    Cuban 

114,119,137.  display,    22,    25;    exhibits    in,    153; 

Fine    Arts    exhibit,    107-130;    mainly        view  Of5  24. 

contemporaneous,    107-8;    great    ex-  Hungary,  Fine  Arts  exhibit,  109,  132. 

tent  of  the  collection,  108;  American  Idaho  building,  176. 

art,  108-9;  unexpected  foreign  repre-  Illinois,  building,  175,  180. 

sentation,    109;    the    Futurists,    110;  Illumination,  95,  134-140,  37,  135,  137, 

the  United  States  section,  110,  115-        192. 

122;  Historical  section,  110-115;  For-  Impressionists,  110,  116. 

eign    sections,    122-130;    awards    of  Indiana,  building,  175. 

grand  prizes,  medals  of  honor,  and  Inscriptions,  on  Tower  of  Jewels,  45, 

gold  medals,  130-3.  46;  in  Court  of  the  Universe,  61,  62; 

"Fire,"   sculpture   by  Aitken,   52,   64;        in  Court  of  the  Seasons,  77. 

murals  by  Brangwyn,  66-71.  Iowa,  building,  175. 

Fisheries,  153.  Italian  fountains,  35. 

Flanagan,  John,  sculptor,  46.  Italian  towers,  28,  18. 

"Flower  Girl,"  81,  10O.  Italy,  Fine  Arts  exhibit,  107,  108,  109, 
Food  Products,   Palace  of,   16;   archi-        110,   122,   124,   127,   132;    industrial 

tecture   and    sculpture,    34,    35;    ex-        exhibits,    151;    pavilion,    164,    165, 

hibits,  146,  153,  119.  159. 

Forestry,  152,  155,  156,  177.  Jaegers,  Albert,  sculptor,  76. 

Foster,  A.  W.,  treasurer  of  the  Exposi-  Jaegers,  August,  sculptor,  76. 

tion,  197.  Japan,  Fine  Arts  exhibit,  109,  122,  132, 
Fountain  of  "Beauty  and  the  Beast,"        133;  Mining  exhibit,  150;  industrial 

81,95,100.  exhibits,    151,     152;    pavilion,    165, 

Fountain  of  Ceres,  77,  91,  79.  166,  169. 


INDEX  203 

Joy    Zone,    outlay    of   concessionaires,  Munch,    Edvard,    painter,    exhibit    in 

$10,000,000,  14,  16;  described,  193-4.  Fine  Arts  Annex,  109. 

Kansas,  building,  176.  Mural  paintings,  see  list  in  Appendix, 

Keith,  William,  painter,  107,  117.  pp.  195,  196. 

Kelham,  George  W.,  architect,  13;  de-  Music  at  the  Exposition,  141-5. 

scribes  co-operative  plan  of  Exposi-  Nations  of  the  East  and  West,  Arches 

tion,     15;     Courts    of    Flowers    and  of,  52,  55,  59,  63. 

Palms,  78.  Netherlands,   The,    Fine   Arts    exhibit, 
Konti,  Isidore,  sculptor,  56,  61.  109,    130,    133;    industrial    exhibits, 
Ladd,  Anna  C.,  sculptor,  130.  152;  horticultural  exhibit,  153;  pa- 
Lafayette,  statue  of,  104,  130,  114.  vilion,  166,  157. 
Landscape    Gardening,    importance    in  Nevada,  building,  176. 

Exposition  plan,  19,  20.  New  Jersey,  building,  173,  174. 

Lemare,  Edwin  H.,  organist,  143,  145.  Newman,  Allen,  sculptor,  35. 

Lentelli,  Leo,  sculptor,  55,  61,  104.  New  Orleans,  13. 

Levison,  J.  B.,  head  of  music  commit-  New  York  City,  building,  173. 

tee,  141,  142.  New  York  State,  appropriates  $1,000,- 

Liberal  Arts,  Palace  of,  16;   architec-  000   for  its   representation   at   P.   P. 

ture  and  sculpture,   33,  34;  exhibits  I.  E.,  14;  building,  172,  173,  170. 

in,  146,  150,  151;  view  of,  38.  New  Zealand,  exhibits,  152,  153;  for- 

Lighting  of  Exposition,  134-140.  estry  exhibit,  153;  pavilion,  167. 

Lincoln,  Abraham,  statue  of,  130;  rel-  Niehaus,  Charles,  sculptor,  46. 

ics  in  Illinois  building,  175.  North  Dakota,  building,  176. 

"Listening  Woman,"  26,  32.  Norway,  Fine  Arts  Exhibit,  109,  133; 

Live-Stock    exhibit,    16;    classes    and  pavilion,  167. 

awards,  178-185.  Ohio,  building,  174,  175. 

Longman,    Evelyn    Beatrice,    sculptor,  Oklahoma,  building,  176. 

77,  91.  Oregon,   exhibits,   152;   building,    172, 

Machinery,   Palace  of,  ground  broken  191. 

for,  14;  relation  to  Exposition's  ar-  Organ,  in  Festival  Hall,  26,  141-5,  152; 

chitectural  plan,  16,  36;  architecture  in  Illinois  building,  175. 

and  sculpture  of,  96-98;  exhibits  in,  "Outcast,  The,"  130,  136. 

146,   149,    150;   views   of,   105,   106,  Palaces  of  main  Exposition  group,  see 

111.  Agriculture,  Education,   Food  Prod- 

MacNeill,  H.  A.,  sculptor,  52,  56,  61.  ucts,     Liberal     Arts,     Manufactures, 

"Man  with  a  Pick,"  33.  Mines,  Transportation,  Varied  Indus- 

McKim,   Mead   and   White,   architects,  tries,  Machinery,  and  Fine  Arts. 

13,  51.  Panama,  pavilion,  161. 

McLaren,  John,  chief  of  landscape  en-  Panama  Canal,  the  motive  of  the  Ex- 

gineering,  14;  importance  of  his  gar-  position,  11,  28;  reproduction  of  193. 

dens  in  the  Exposition  scheme,   19,  Panama-Pacific  Exposition;  motive  and 

20;  his  gardening  conforms  to  color  planning,    11;    first    suggested,    11; 

scheme,  41.  plans    interrupted   by   fire   of    1906, 

Manufactures,  Palace  of,  16;  architec-  12;  Exposition  Company  formed  and 

ture  and  sculpture,  33,  34;  exhibits  subscriptions  begun,   12;    California 

in,   146,  151.  and  San  Francisco  vote  bonds,   13; 

Maryland,  building,  174.  San    Francisco    wins    Congressional 

Massachusetts,  exhibits,  152;  building,  approval,  13;  national  aid  not  asked, 

173,  181.  13;  site  selected,  13;  President  Taft 

Mathews,  Arthur  F.,  painter,  82,  117.  breaks  ground,  13;  Board  of  Archi- 

Maybeck,  Bernard  R.,  architect,  13,  25,  tects    appointed,    13;    Ground    Plan 

101,  102.  perfected,    site   prepared    and   work 

Mermaid  Fountain,  84,  99.  begun,  14;  Exposition  ready  on  time, 

Mines  and  Metallurgy,  Palace  of,  16;  14;    cost,    $50,000,000,    14;    Ground 

architecture  and   sculpture,   35,   36;  plan  described,  16-21,  27-41. 

exhibits  in,  150.  Patigian,  Haig,  sculptor,  98. 

Miniatures,  Fine  Arts  exhibit,  121,  122.  Pennell,  Joseph,  122. 

Mississippi,  building,  174.  Pennsylvania,  building,  173,  181. 

Missouri  building,  175,  176,  180.  Pennsylvania    Railway    station,    New 

Montana,  Mining  exhibit,  150;   build-  York,  96,  107. 

ing,  176.  Philadelphia,  exhibit,  152. 

Montessori,  Maria,  educator,  152.  Philippines,    The,    Fine    Arts    exhibit, 

Moore,  C.  C.,  president  of  the  Exposi-  128,  133;  forestry  exhibit,  152,  153; 

tion,  141,  197.  building,  177. 

Moorish  domes,  27;  towers,  28.  Piccirilli,  Furio,  sculptor,  75,  91. 

"Mother  of  the  Dead,"  130,  120.  Piccirilli,  Attilio,  sculptor,  130. 

Motion   Pictures,    used   for   exhibition  Pietro,  C.  L.,  sculptor,  130. 

purposes,  146,  149.  Pine  and  Redwood  Bungalows,  25. 

Muck,   Karl,  director   of  Boston   Sym-  "Pioneer,  The,"  81,  87. 

phony  Orchestra,  143.  "Pioneer  Mother,"  104. 

Mullgardt,   Louis    Christian,   architect,  "Pirate,  The,"  35,  44. 

13,  65-67,  72.  Polk,  Willis,  architect,  13. 


204 


THE  JEWEL  CITY 


Portals:  Palace  of  Varied  Industries, 
28,  33,  18,  37;  Manufactures  and 
Liberal  Arts,  33,  34;  Education,  34, 
35,  138.  Half-domes,  Education  and 
Food  Products,  35;  on  north  facade, 
35,  43,  44;  east  facade,  35,  36;  on  in- 
terior  aisle,  36;  in  Courts  of  Flowers 
and  Palms,  82. 

Portugal,  Fine  Arts  exhibit,  109,  128, 
129,  133;  building,  167. 

Press  Building,  26. 

"Priest,  The,"  46,  44. 

Putnam,  Arthur,  84. 

Pyle,  Howard,  painter,  121. 

Redfleld,  E.  W.,  painter,  117. 

Reid,  Robert,  painter,  103,  104,  118. 

Richardson,  Symmes,  architect,  56. 

Rising  and  Setting  Sun,  Fountains  of, 
52,  90,  63,  69. 

Rodin,  Auguste,  sculptor,  163;  his 
statue,  "The  Thinker,"  158. 

Rolph,  James,  Jr.,  vice-president  of 
the  Exposition,  197. 

Roman  architecture,  27,  51,  61,  96. 

Roth,  Frederick  G.  R.,  sculptor,  55,  61. 

Rumsey,  Charles  C.,  sculptor,  46. 

Ryan,  W.  D'A.,  illumination  expert, 
14,  45,  134. 

Sabin,  Wallace,  organist,  142. 

Saint-Gaudens,  Augustus,  sculptor,  130. 

Samt-Saens,  Camille,  composer,  142-5. 

San  Francisco,  votes  $5,000,000  bonds 


Taft,  William  H.,  breaks  ground  for 
Exposition,  12,  13. 

Tarbell,  Edmund  C.,  painter,  117. 

Taussig,  Rudolph  J.,  secretary  of  the 
Exposition,  197. 

Texas,  building,  176. 

"Thinker,  The,"  158. 

Tiffany,  Louis  C.,  exhibit  in  Fine  Arts 
Palace,  118. 

Tonetti,  F.  M.  L.,  sculptor,  46. 

Tower  of  the  Ages,  66,  67,  139,  70. 

Tower  of  Jewels,  16;  central  feature  of 
main  palace  group,  28,  33;  architec- 
ture  and  sculpture,  42-49;  illumina- 
tion,  42;  "jewels,"  45;  historical  sig- 
niflcance,  42-49;  epitomizes  the  Ex- 
position  art,  49;  relation  to  Court  of 
the  Universe,  51;  night  illumination, 
134,  139,  140;  views  of,  47,  135. 

Transportation,  Palace  of,  16;  archi- 
tecture  and  sculpture,  35,  36,  51;  ex- 
hibits  in,  150,  151. 

Travertine,  Artificial,  material  of  Ex- 
position  palaces,  36,  39,  40,  77,  96, 
107. 

Trumbull,  Edward,  painter,  173. 

Turkey,  pavilion,  168. 

Twachtman,  John  H.,  painter,  117. 

Tympanum,  Palace  of  Varied  Indus- 
tries,  33,  138;  Education,  34,  138. 

United  States,  Fine  Arts  exhibit,  108- 
no  115-118  121  131 


gressional  approval,  13. 

sa£?,     anilKinic'  *&"*?*'  i   J'r    1  1s 
Schumann-Hemk,  Mme.,  singer,  143. 

Scudder,  Janet,  sculptor,  130. 
Sculpture,  exhibits  in  Fine  Arts  Palace 

i^M^^ 

TurW  j&^JVtfS: 

pendix,  pp.  195,  196. 
Seasons,   Court   of,  see   Court   of  Sea- 

sons;  Fountains  of,  see  Fountains. 
Setting    Sun,    see    Rising    and    Setting 

Sun. 

Siam,  pavilion,  167. 
Simmons,  Edward,  mural  painter,  55, 

56. 
Sloss,  Leon,  vice-president  of  the  Ex- 

position,  197. 

Smith,  Arthur,  aviator,  151,  188,  192. 
Sousa,  John  Philip,  musical  conductor, 

143-5. 
South  Gardens,  16;  hedge  of  mesembry- 

anthemum,   19;   flowers  in,   20;   de- 

scription  of  South  Gardens  and  their 

buildings,  21-26;  view  of,  23. 
Spain,  Fine  Arts  exhibit,  109,  128,  132. 
Sports  and  games,  Exposition  contests 

and  prizes,  186-190. 
Spring,  Fountain  of,  75,  76,  91. 
Stackpole,  Ralph,  33,  34,  103. 
Stars,  in  Court  of  Universe,  51,  52. 
Stewart,  G.  W.,  musical  director,  142. 
St.  Louis,  city,  exhibit,  152. 
Summer,  Fountain  of,  76,  91,  94. 
Sweden,   Fine  Arts   exhibit,   109,   128, 

133;  pavilion,  167,  168,  160. 


Uruguay,  Fine  Arts  exhibit,  122,  127, 
133  '•  industrial  exhibits,  152. 

i^n- 
,    150, 


group,  28, 


Tnr1ii«trfo<i     Palaro   of     1  fi  •    it« 


of  main 


"Walled  City,"  mam  group  of  exhibi- 

tion  palaces,  15  ;  architecture  of,  27- 

36;  material  and  color,  36-41. 
Walter,  Edgar,  sculptor,  81,  95. 
Ward,  Clarence  R,  architect,  13,  96. 
Washington,  state,  exhibits,  153  ;  build- 

ing,  172,  191. 
Water  colors,  in  Fine  Arts  exhibit,  121, 

128. 

"Water,"  murals  by  Brangwyn,  67-71. 
Weinert,  Albert,  sculptor,  35. 
Weinmann,  A.  A.,  sculptor,  52,  90,  115. 
Weir,  J.  Alden,  painter,  121. 
West  Virginia,  building,  174. 
Whistler,  James  McNeill,  painter,  107, 

117,  122. 
Whitney,   Gertrude  Vanderbilt,   sculp- 

tor,  49,  82,  84,  95,  110. 
Winter,  Fountain  of,  76,  91. 
Wisconsin,  building,  175. 
Wolf,  Henry,  etcher,  122,  130. 
Young,  Mahonri,  33,  34. 
Youth,  Fountain  of,  49,  84,  89,  53. 
Young  Women's  Christian  Association 

Building,  26. 
Zimm,  Bruno  Louis,  102,  103. 


SOME 


Other  Publications 


OF 


JOHN   H.    WILLIAMS 

Sheldon  Building,  San  Francisco 
Provideot  Building,   Tacoma 


"A  noteworthy  edition  of  a  charming  book,  in  which  Winthrop  broke  what  was 
then  virgin  soil.    The  text  is  of  historical  importance ;  the  illus- 
trations are  works  of  art. — The  Sun,  New  York. 

The  Canoe  and  the  Saddle 

By  THEODORE  WINTHROP 

To  which  are  now  first  added  his  WESTERN  LETTERS  AND  JOURNALS. 
Edited  with  an  Introduction  and  Notes  by  John  H.  Williams.  Royal  8vo.,  with 
16  plates  in  color,  48  halftones,  and  60  text  etchings.  Bound  in  half  parch- 
ment (leather);  gilt  top;  boxed.  Price  $5.00  net.  Three-quarters  morocco, 
$8.00.  Three-quarters  levant,  full  gilt,  $10.00.  By  express,  30  cents  extra. 


"  'The  Canoe  and  the  Saddle,'  Winthrop's  treasure-house  of  information  con- 
cerning Indian  life  and  the  ways  of  the  wilderness  frontier,  was  frequently  re- 
published  during  the  thirty  years  following  its  first  appearance  in  1862 ;  but  since 
out  of  print,  it  stood  out  of  danger  of  being  forgotten  by  all  except  students  of 
the  history  of  the  West.  Mr.  Williams,  himself  an  authority  on  that  history,  and 
a  valuable  contributor  to  its  literature,  deserves  thanks  for  this  carefully  edited, 
well  printed,  and  capitally  illustrated  new  issue  of  the  work.  It  is  not  a  mere 
reprint,  but  a  definitive  edition,  expertly  annotated  by  one  who  has  taken  fullest 
cognizance  throughout  of  the  reader's  probable  unfamiliarity  with  early  far 
western  conditions." — The  New  York  Tribune. 

"From  the  faraway  Northwest  comes  this  volume  of  particular  interest  to  New 
Englanders.  .  .  .  'The  Canoe  and  the  Saddle'  is  a  classic  of  frontier  adven- 
ture. With  his  Western  journals  and  letters,  which  have  now  been  added,  it  en- 
hances greatly  the  interest  that  attaches  to  the  attractive  author.  Winthrop  was 
shot  at  Great  Bethel,  in,  June,  1861.  He  was  but  thirty-two,  and  gallantry  of 
service  and  nobility  of  character  were  embodied  in  this  descendant  of  one  of  the 
foremost  Bay  State  settlers.  Every  care  possible  has  been  expended  by  Mr.  Wil- 
liams in  preparing  this  volume,  which  is  a  perfect  record  of  one  who,  though 
begotten  by  New  England,  is  a  hero  to  the  now  populous  Northwest,  which  he  so 
ably  and  fascinatingly  interpreted  in  its  frontier  days." — The  Transcript,  Boston. 

"As  both  editor  and  publisher,  Mr.  Williams  deserves  high  credit  for  the  dili- 
gence and  study  he  has  put  into  his  elaborately  illustrated  and  annotated  work." 
— The  Dial,  Chicago. 

"Winthrop's  great  work  is  not  of  the  kind  that  one  readily  forgets,  but  it  is 
none  the  less  pleasant  to  be  reminded  of  it  by  such  an  edition.  This  is  an  his- 
torical document  of  the  highest  value  and  in  most  attractive  form.  Its  editor 
has  been  particularly  fortunate  in  his  annotations  and  his  illustrations.  The 
volume  as  a  whole  is  a  full  justification  of  the  elaborate  care  expended  in  its 
preparation.  Mr.  Williams  is  to  be  congratulated  upon  the  successful  perform- 
ance of  a  work  valuable  alike  to  American  history  and  to  that  section  with  which 
it  deals." — The  Argonaut,  San  Francisco. 

"Mr.  Williams  has  rendered  a  distinct  service  to  American  letters  and  history 
in  republishing  Winthrop's  account  of  his  famous  journey  sixty  years  ago  in  the 
Northwest.  To  present  day  readers,  this  frontier  classic  will  come,  with  its  re- 
markable freshness  of  presentation  and  strong  stamp  of  individuality,  like  a 
new  revelation.  It  gives  a  brilliant  picture  of  frontier  conditions  in  early  Wash- 
ington and  Oregon,  as  they  appeared  to  a  keen  and  imaginative  young  observer." 
— The  New  York  Times. 

"No  other  Pacific  Coast  book  has  such  a  prodigal  yet  representative  wealth  of 
pictures.  Much  of  the  present  edition  is  new.  The  admirable  notes  add  to  one's 
understanding  of  the  history  of  the  'Oregon  Country.'  " — The  Oregonian,  Portland. 


JOHN  H.  WILLIAMS'  ILLUSTRATED  BOOKS  ABOUT 
THE  GREAT  MOUNTAINS. 

The  Mountain  That  Was  "God" 

New  edition,  revised  and  greatly  enlarged.     Large  8vo.,  with  190  illustrations 

(8  in  colors)  of  Mt.  Ranier  (Tacoma),  its  glaciers,  canons, 

forests  and  upland  flower  "parks." 

The  Guardians  of  the  Columbia 

Large  Svo.,  with  210  illustrations   (8  in  colors)   of  Mt.  Hood,  Mt.  Adams  and 
Mt.  St.  Helens,  and  of  the  Columbia  River  and  its  forests. 

Yosemite  and  its  High  Sierra 

Large  8vo.,  with  8  four-color  plates  from  paintings  by  Chris  Jorgensen,  maps, 

and  more  than  210  halftones,  now  first  presenting  the  scenery 

of  the  Yosemite  National  Park  as  a  whole. 

UNIFORM  STYLES  AND  PRICES 
EDITION  DE  LUXE,  in  ooze  leather,  watered  linings,  gilt  top.    In 

box,  $2.50  net;  express  16  cents. 
LIBRARY  EDITION,  in  stout  art  crash,  $1.50  net;  express  16  cents. 

"By  these  handsomely  illustrated  volumes,  Mr.  Williams  has  rendered  a  serv- 
ice of  great  value  to  all  nature-loving  Americans." — New  York  Evening  Post. 

"There  is  an  attractive  boldness  about  the  title,  'The  Mountain  That  Was 
"God,"  '  which  goes  with  John  H.  Williams'  illustrated  book  on  Mt.  Tacoma, 
blunderingly,  though  officially,  called  Rainier.  Mr.  Williams  has  done  his  duty 
very  thoroughly  by  the  great  landmark  of  which  he  writes.  Of  course,  it  is  to 
the  Indians  and  their  legends  that  he  owes  his  title." — New  York  World. 

"In  Mr.  John  H.  Williams'  fascinating  new  book  of  pictures  and  text  about 
the  majestic  western  mountains,  'The  Guardians  of  the  Columbia,'  the  author's 
descriptive  power  rises  equal  to  his  task  of  painting  on  a  grand  scale  what  the 
hand  of  God  has  so  magnificently  laid  out.  He  sees  the  geological  ages  at  work 
uplifting  here  an  ocean  bed,  here  an  island,  folding  the  earth's  crust,  molding 
colossal  mountain  barriers,  planting  the  forests.  Fascinating  are  the  Indian 
legends  whereby  the  bronze  aborigines  attempted  to  account  for  these  marvels. 
Especially  interesting  is  the  story  of  the  birth  of  the  great  mountains,  told  in  the 
author's  eloquent  and  graphic  text." — Louisville  Courier- Journal. 

"We  have  decided  to  include  in  our  list  of  Best  Books  of  1914  your  'Yosemite 
and  its  High  Sierra.'  " — New  York  State  Library,  Albany. 

"Mr.  Williams'  splendid  new  book  surpasses  his  best  previous  works.  Vol- 
umes have  been  written  and  countless  pictures  published  of  Yosemite  Valley, 
but  he  gives  us  something  different.  He  takes  us  into  the  High  Sierra,  where 
nature  is  in  its  wildest  and  also  it  most  beautiful  moods.  It  is  a  new  Yosemite 
that  he  describes  and  pictures,  and  one  finishes  the  book  feeling  that  not  one  visit 
but  many  would  be  needed  to  gain  a  comprehensive  knowledge  of  Yosemite's 
grandeurs." — Los  Angeles  Express. 

"A  book  of  brief  but  valuable  text  and  magnificent  new  pictures;  a  book  to 
own  and  enjoy;  and  emphatically  a  book  to  send  to  friends  whom  one  would  have 
know  'the  glory  of  alpine  California.'  " — San  Francisco  Bulletin. 


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